Poems from Las Mujeres no hablan así Joseph E.

Brockway

POEMS FROM LAS MUJERES NO HABLAN ASÍ

Poems by Nemir Matos-Cintrón
Translated by Joseph E. Brockway

(Hoy canto a las mujeres tierra)

Today I sing to the Earth Mothers

Luisa Capetillo, Lola Rodriguez de Tió
Mariana Brascetti, Lolita Lebrón
To Julia de Burgos
and all of history’s
anonymous women
who yesterday and today build our tomorrow
who hour after hour bear life
with the promise of coconut groves
dancing to liberty
And I am with Luisa galloping
through hillside and city
And I hear her in the cigar factory
reading to the workers
giving back the power
they spin with their hands
And I am with Lola and Julia
writing verses
for an enslaved people
And I am with Mariana
unraveling the thread she uses to stitch
the flag of the future
And I am with Lolita
in the beauty of her anger
rescuing the present from shame
And the galloping and the verses
the stitches and bullets
of these Earth Mothers
ignite in my body
a revolution

1 | Originally Published in Queen Mob’s Teahouse – Queer Translation – 14 June 2018

https://queenmobs.com/2018/06/poems-from-las-mujeres-no-hablan-asi
Poems from Las Mujeres no hablan así Joseph E. Brockway

(Esta noche escribo mi nombre en las paredes)

Tonight I write my name on the walls

with the blood of my pussy
I paint my lips and my face with the blood of my womb I wet the earth
with my blood under the full moon in Lunallena
calling out to my sisters hiding in the woods
covered with leaves and cursed blood Howling
together at the moon Lunatics clamoring for our disappeared sisters
dethroned
!Cacica Loíza, María Leoncia, Anacaona! Invoking
the ancestral power of our spiralwomb galaxyvortex
Intoxicated with the blood of life and not that of death
We shall reclaim the night

(Oleajes)

Swells
Desire is a wild colt roaming the smooth plains of your body
Naked you are desert You bring me to the point of vertigo you thrust me into an abyss
by your hands dunes or mirages isthmuses or mirrors of my body
indistinguishable from yours You are a bird reptile vibrating to the rhythm of my pulse
all the more excited by the contact of your waves and worked up
salty saline sea of seaweed in my mouth river flowing into an ocean
no no let it not end

TRANSLATOR’S NOTE

In 1981, Nemir Matos-Cintrón and Yolanda V. Fundora self-published a portfolio of

poetry and art, Las Mujeres no hablan así [That’s Not How Women Talk], to push against the
Puerto Rican patriarchy in their unapologetic reclaim of raw feminine beauty, anatomy, and
sexuality from the male grip. More than thirty years have passed since Las Mujeres no hablan así
was published, and women’s rights to their own bodies are still under attack by men in power.

Matos-Cintrón’s poems often contain derisive language to confront contentious topics,

such as lesbian sexual exploration and the position of women in a male-dominated society; but
what many might label as deviant sexual behavior, Matos-Cintrón turns into a poetic act. For
example, in her poem “Oleajes” [Swells], the body parts of one woman become “dunes or mirages,
isthmuses or mirrors” of her female lover’s body during intercourse. In contrast, “Me robaron el
cuerpo” [They Stole My Body] touches on sexual and physical violence towards women. In the
poem, the female body is objectified by the male gaze and raped at the end because “that’s what all
women want anyway.”
2 | Originally Published in Queen Mob’s Teahouse – Queer Translation – 14 June 2018
https://queenmobs.com/2018/06/poems-from-las-mujeres-no-hablan-asi
Poems from Las Mujeres no hablan así Joseph E. Brockway

Many of Matos-Cintrón’s poems explore the forgotten matriarchal society that was
supplanted by the spread of Judeo-Christianity. At times, this exploration takes the reader through
a diverse list of creationary goddesses from Greco-Roman, Egyptian, Yoruba, Maya, Aztec, and
Taíno pantheons. In “Soy el principio” [I Am the Beginning], salvation from “centuries of men and
of war” will only come from the mother goddess embodied in such deities as Ishtar, Hecate, Isis,
Omecihuatl, and Coatlicue. In other poems she invokes African deities, such as Yemayá and
Changó, which were brought to the Caribbean during the colonial period and have since become
integrated into many aspects of Caribbean culture and identity through syncretism.

The complexity of Matos-Cintrón’s poetry presented various difficulties during the

translation process. For instance, the omission of punctuation often creates ambiguous
relationships between words on a single line or between multiple lines of a verse. I was thus
confronted with the question of how I, as the translator, could recreate the same ambiguity. The
poet’s use of neologisms presented further challenges: do I create my own neologisms, or do I
explain the inimitable words for the English reader? Perhaps, however, the most troublesome
obstacle I faced was Matos-Cintrón’s regular invocation of Yoruba, Taíno, Aztec, and Maya
goddesses for two reasons: their name variants and their foreignness to English-speakers.

Orally-transmitted religions allow for variations in spelling, and the multiplicity of

spellings is compounded when the religion is transported to new regions with cultural and
linguistic differences. Such is the case with Yoruba in Latin America. For example, the goddess
Yemayá, which is the predominant spelling used in Puerto Rico, is often spelled as Yemoja,
Ymoja, or Yemowo in Africa; Lemanjá or Janaína in Brazil; Yemayá, Yemayah, or Lemanya in
Cuba; and Yemalla, Yemana, or Yemoja in the United States. The Aztec goddess Coaticlue is also
called Coatlicue, Cihuacoatl, with classical Nahuatl spellings of Cōhuātlīcue and Cihuācōhuātl.
Because of all the variances, I decided to maintain the original spelling that Matos Cintrón uses for
goddesses outside of the Western tradition. Readers who are familiar with the goddesses she
references will be aware of the spelling variations. For those who are not, one spelling over the
other will not distort their function or alter the overall meaning of the poem. The Greco-Roman
goddesses, however, are very familiar to an English-speaking audience and are thus rendered in
the traditional English spelling.

The second consideration was whether or not the readers’ familiarity, or unfamiliarity,
with the various deities mentioned would affect their comprehension of Matos-Cintrón’s poems.
This is especially relevant because the power of the poems depends on the emotional impact
created through the relationship of the words to each goddess. My own unfamiliarity with many of
the Aztec and Yoruba goddesses required extensive research so that I could confidently recreate
the internal working of the poems in English.

The poems in Las Mujeres no hablan así are raw, salty, explicit, and polytheistic. Through
uninhibited language, Matos-Cintrón exalts the female body sexually and spiritually, and she
attributes a sense of superiority to womankind. Whether invoking female deities or singing to the
Earth Mothers—“history’s anonymous women,” Matos-Cintrón’s poems seek to reclaim the night
by “invoking the ancestral power of [woman’s] spiralwomb galaxyvortex.”

3 | Originally Published in Queen Mob’s Teahouse – Queer Translation – 14 June 2018

https://queenmobs.com/2018/06/poems-from-las-mujeres-no-hablan-asi
Poems from Las Mujeres no hablan así Joseph E. Brockway

AUTHOR
Nemir Matos-Cintrón is a queer writer born on November 19 in Puerto Rico. She has published
four books of poetry: Las Mujeres no hablan así, dealing with lesbian love; A través del Aire y el
Fuego, pero no del Cristal (1981), a collection of early poetry; El Arte de Morir (2010), an
homage to friends who died from AIDS; and Aliens in NYC (2011), portraits of immigrant life in
the big city. She has also published in several literary anthologies both in Puerto Rico and the
United States including: The Other Bodies (2007) and Abriendo Caminos: anthology of Puerto
Rican writers in New York (2012). She is working on As time goes by, a new poetry collection
on queer love and the passage of time.

Nemir Matos-Cintrón es una escritora queer nacida el 19 de noviembre en Puerto Rico. Ha

publicado cuatro libros de poesía: Las Mujeres no hablan así, sobre el amor lesbiano, A través
del Aire y el Fuego, pero no del Cristal (1981), colección de poesía temprana, El Arte de Morir
(2010), homenaje a los amigos que murieron de SIDA y Aliens in NYC (2011), retratos de la vida
inmigrante en la urbe neoyorquina. Ha publicado en antologías literarias tanto en Puerto Rico
como en los Estados Unidos incluyendo: Los Otros Cuerpos (2007) y Abriendo Caminos:
antología de escritores puertorriqueños en Nueva York (2012). Trabaja en As time goes by, una
nueva colección de poesía sobre el amor queer y el paso del tiempo.

TRANSLATOR
Joseph Ellison Brockway is a poet, translator, and Spanish professor. He holds a BA and MA in
Spanish, and he is currently working on his Ph.D. in Studies of Literature and Translation
through The University of Texas at Dallas. He has translated poems from Las Mujeres no hablan
así [That’s Not How Women Talk] by Puerto Rican poet Nemir Matos-Cintrón, and he is
translating Isla cofre mítico [Island Mythical Coffer] by Spanish surrealist Eugenio F. Granell.
Joseph is currently working on a manuscript about identity, family, and depression after a DNA
test revealed that the man he knew as his father is not his biological father. Joseph’s literary
translation interests include surrealism, mental illness, and Latin American poetry. Joseph’s
poetry has been published in The Rising Phoenix Review, Dirty Chai, Full of Crow, L’Éphémère
Review, The Perch, and Surreal Poetics. You can interact with Joseph on Facebook and Twitter
at @JosephEBrockway.

4 | Originally Published in Queen Mob’s Teahouse – Queer Translation – 14 June 2018

https://queenmobs.com/2018/06/poems-from-las-mujeres-no-hablan-asi
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