Bøker utgitt av El Martillo Press

"Blackout indicates a caesura from which to start again, and from the first to the last word, it makes no concessions. It speaks to us of what is missing and of human hell on earth, but also of what is still possible to return to that human being who is trampled upon every day and in whom we would like, despite everything, to still believe."--Fabia Ghenzovich, winner of the Guido Gozzano (2009), and the Charles Darwin Scientific Poetry Prize (2014) "We travel with Anna Lombardo in the dark; nothing is more poetic than the night that consoles between sighs that fade away while the words get stuck, and the unsaid things stagnate.To talk about emptiness, about the horrors with, and without, war, about the love that remains, perhaps, we need a borrowed language, a traffic of words that if you let them do, they will not only do what they want, they will do what they must. But words carry the scars of our actions, and when the darkness ends, and with it, the hours counted on the fingers (after having buried even the sound of the soul), what will happen to us, or rather, what will not happen to us?"--Brigidina Gentile, winner of Hypatia poetry prize (2011) and Mimosa prize for fiction (2015)

Traducción al español de My Name Is Romero (FlowerSong Press, 2020). Gabriel González Núñez, traductor. Yo soy Romero es el tercer poemario completo del poeta de "spoken word" mexicoamericano David A. Romero. En un mundo donde le pronuncian mal el apellido o tratan de definirlo por él, Romero opta por darle significado propio al apellido de su familia mediante una exploración de la historia familiar, los recuerdos de la niñez y los relatos de personas trabajadoras. Al hacerlo, Romero cuestiona sus propios prejuicios y los de les demás en referencia a lo que realmente significa ser mexicoamericane y latine. Yo soy Romero se extiende desde lo político hasta lo personal, con un alcance tanto íntimo como épico. El poemario incluye además una guía de diálogo para abordar temas como la pertenencia y la exclusión, el racismo y la solidaridad. La ilustración de portada es un original de Sonia Romero y el libro ostenta valoraciones de Gustavo Arellano (¡Ask a Mexican! y Taco USA: How Mexican Food Conquered America), Curtis Marez (University Babylon y Farm Worker Futurism: Speculative Technologies of Resistance), Ulises Bella (multinstrumentistä y miembro fundador de Ozomatli), Yolanda Nieves (profesora titular del Colegio Universitario Wilbur Wright, fundadora de Vida Bella Ensemble), Mike The Poet Sonksen (Letters to My City y I Am Alive in Los Angeles), y Ana María Álvarez (fundadora y artista directora de la compañía de danza latina y urbana CONTRA-TIEMPO).

"Ceasar K. Avelar swings a Central American hammer in poems that sing the working life while also decrying the gaps and empties. He's a powerful voice from the Central American migrant stream essential to the 'essential workers' risking life and family to keep economies going, even in pandemics."¿-Luis J. Rodriguez, former Los Angeles' Poet Laureate, author of Borrowed Bones: New Poems from the Poet Laureate of Los Angeles¿"When the particles settle, Cesar K. Avelar will go down as one of the greatest working-class poets of our time."¿-William A. Gonzalez, award winning author of Black Bubblegum¿"Ceasar Avelar writes for the people in the trenches, for the marginalized, for those who sometimes feel as though they have no voice. The power of his words jump from the page. He is not writing to impress, he is writing to inspire."¿-Jeffery Martin, author of Ripples, Shadows & Huddled Scraps¿"Ceasar K. Avelar's poetry is exquisite, fierce and courageous. A harrowing denunciation of the exploitation endured by today's immigrant factory workers, but more importantly, a testament of the worker's indomitable spirit to subvert their dehumanization while dreaming and asserting the possibility of a life of respect and hope." -Angelina Sáenz, Author of Edgecliff

"the daughterland is a Plathian interrogation of Mexican motherhood during the regressive Covid-era by a mother who was a daughter during the arms race, Ronald Reagan, and socially-accepted toxic masculinity. Garcia's poems are the secrets parents wish they didn't have to keep to themselves."¿--Michelle Cruz Gonzales, Musician, professor, author of The Spitboy Rule: Tales of a Xicana in a Female Punk Band¿"Margaret Elysia Garcia may be my favorite living poet, a maestra of the form. In our era of sacrifice, young blood spilled, and hummingbirds that fly too close to the sun, Garcia tenders her exquisite language, late-stage lyricism, & fullnamed, full-throated mestiza cri de cuento."¿--Susie Bright, author of Susie Bright's Sexual State of the Union and Big Sex Little Death: A Memoir¿"Margaret Elysia Garcia paints poems of a mother's broken-heartedness with unfiltered ferociousness, her daughter's life as palette. While we can't know our daughters' traumas, we do try. We hope they forgive our failures to protect them. How could we? Garcia's written her own mother-comforting failure salve, her own writer-comforting vengeance."¿--Jenny Forrester, author of Narrow River, Wide Sky: A Memoir and Soft Hearted Stories: Seeking Saviors, Cowboy Stylists, and Other Fallacies of Authoritarianism¿"Breathtaking. A brave and timely work. Margaret Elysia Garcia digs deep into the personal to reach the universal stream. The poems in this volume come together like an underground chorus of the female experience here and now at the edge of the world, burning and surviving."¿--Ariel Gore, author of The Wayward Writer: Summon Your Power to Take Back Your Story, Liberate Yourself from Capitalism, and Publish Like a Superstar¿"the daughterland is an urgent and beautiful collection of poetry that speaks to the bonds of mother and daughter and the many faces of survival. Margaret Elysia Garcia's voice soars as she chronicles an authentic account of her experience as a Latina mother celebrating her heritage and supporting her daughter through bigotry, sexism, and trauma."-Teresa Berkowitz, editor of Tangled Locks Journal