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                <text>&lt;em&gt;&lt;strong&gt;Historia privada de un etcétera&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>A collection of poems where reality, language, and virtuality intertwine. The work features a visceral and feminine poetry that alludes to deeply human themes, yet is deeply filtered through reading, reflection, and refined words. (Publisher's synopsis, translated from the Spanish by Archivo Venezuela)</text>
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                <text>Venezuelan poetry, women in literature, Humanism in literature, Natasha Tiniacos</text>
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&lt;h3&gt;Interview with the author in English (International Writing Program, Iowa)&lt;/h3&gt;&#13;
&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/m6N_W7oa0iI?si=m9mEl3r3NjtBzvqO" title="Interview with Natasha Tiniacos (English)" frameborder="0" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt;&#13;
&lt;h3&gt;&lt;a href="https://internatural.blogspot.com/2012/10/natasha-tiniacos-dialoga-con-jacqueline.html"&gt;Interview with the author in El Nacional (reproduced in Internatural, Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.elnacional.com/entretenimiento/natasha-tiniacos-mujer-genero-del-futuro_186053/"&gt;Interview with the author in El Nacional (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.goodreads.com/book/show/17736302-historia-privada-de-un-etc-tera"&gt;Reader reviews on Goodreads&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://natashatiniacos.com"&gt;Official website of Natasha Tiniacos&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/953695638"&gt;WorldCat bibliographic record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>"In Leonardo Padrón's poetry, the unexpected reigns. The reader goes from surprise to surprise, dazzled by the appearances of the adjective "unusual" in verse that is also unusual, but still constrained by speech. With him, metaphor is dressed for a party. […] His words dwell on the limits of language because they want to express the inexpressible. To receive them is to share their intensity." (Rafael Cadenas, translated from the Spanish by Archivo Venezuela)</text>
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                <text>&lt;h3&gt;&lt;a href="https://www.elnacional.com/entretenimiento/tiempos-oscuros-cultura-debe-edificar-correlato_89195/"&gt;Interview with Leonardo Padrón about poetry, culture, and the book Contracanto (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.elnacional.com/papel-literario/contracanto/"&gt;Summary and analysis of Contracanto in Papel Literario, El Nacional (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://leonardopadron.com/wp/contracanto-poesia-reunida-1979-2011/"&gt;Book page and synopsis on Leonardo Padrón’s official website (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1000507315"&gt;WorldCat bibliographic record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;em&gt;&lt;strong&gt;Trae tu espalda para hacer mi mesa&lt;/strong&gt;&lt;/em&gt;</text>
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                <text>"Yau has an extraordinary talent for distilling words and transforming them into almost physical aesthetic experiences. The poems in this collection spark a sensation, a taste, a space, and without us realizing it, they take us to unexpected and enriching places. They are poems that touch us and are felt inside." —Camilo Pino, translated from the Spanish by Archivo Venezuela</text>
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&lt;h3&gt;&lt;a href="https://letralia.com/entrevistas/2020/09/20/lena-yau/"&gt;Interview with the author by José Pulido in Letralia (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://evlinpy.wordpress.com/2015/07/11/lena-yau-la-comida-es-una-de-las-formas-del-amor/"&gt;Interview with the author in Evlinpy: “Food is one of the forms of love” (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://medium.com/@CervantesMileHighCity/trae-tu-espalda-para-hacer-mi-mesa-la-voz-de-lena-yau-dbd0cc322d5a"&gt;Review by Alberto Hernández in Medium (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/927705399"&gt;WorldCat bibliographic record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>&lt;h3&gt;&lt;a href="https://wp.nyu.edu/cwskjcc/autores/juan-luis-landaeta/"&gt;Profile and honors of Juan Luis Landaeta at NYU (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://dominicanaenmiami.com/?p=15212"&gt;Interview with the author by Glenda Galán in Dominicana en Miami (Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.elimpulso.com/2018/04/23/juan-luis-landaeta-fue-invitado-de-honor-del-latino-summit-2018/"&gt;Juan Luis Landaeta was guest of honor at the 2018 Latino Summit (El Impulso, Spanish)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/947063395"&gt;WorldCat bibliographic record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>A serene gaze confirms the permanence of the ruin, its beauty, and the shadow of what is no longer. Each word has been measured in a frame that dignifies the invoked image and the word that names it. Dignity in the broken bones of the mother, of the sea that recedes like summer, of love and the body of a brief creature that dies and disintegrates in winter. Reading these dazzling poems is remembering what we unwittingly carry (Publisher's synopsis translated from the Spanish by &lt;em&gt;Archivo Venezuela&lt;/em&gt;)&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/de0494d741eeced3d80102f832357bc5.jpg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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&lt;h3&gt;&lt;a href="https://lljournal.commons.gc.cuny.edu/saraceni-diaz-martinez/"&gt;Review by Sebastián Díaz Martínez in LL Journal&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://alharacaradio.com/2020/05/30/gina-saraceni-un-repaso-por-los-lugares-abandonados/"&gt;Radio review on Alhara Radio&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>In &lt;em&gt;Adriático&lt;/em&gt;, poetry unites the separated islands and provokes new imaginary cartographies, based on the symbolic synthesis of distant and distinct places that maintain their beautiful original names and live on in memory and affection. Each name is a small altar where a home is worshipped, linked to the ancestral land, the Adriatic land of the father and mother, but also to the new gods, those discovered, those discovered and at the same time constructed. The magnificent flora of the tropics and their striking birds are always present in the scenes the poem paints, with its gaze fixed on the constant Adriatic distance. https://www.goodreads.com/book/show/60188435-adri-tico-colecci-n-poes-a&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/d5e57689528b75be8e02923d02bdbb20.jpg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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&lt;h3&gt;&lt;a href="https://latinamericanliteraturetoday.org/es/rese%C3%B1as/adriatico-adriatic-de-gina-saraceni/"&gt;Review by Raquel Rivas Rojas in &lt;em&gt;Latin American Literature Today&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://elcautivo.net/2022/02/28/adriatico-seleccion-gina-saraceni/"&gt;Selection from the book in &lt;em&gt;El Cautivo&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.diariolasamericas.com/cultura/gina-saraceni-la-poesia-crea-archipielagos-imposibles-n4261220"&gt;Review by Grethel Delgado in &lt;em&gt;Diario Las Américas&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;</text>
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&lt;h3&gt;&lt;a href="https://uglyducklingpresse.org/wp-content/uploads/2022/06/978-1-946604-13-2.pdf"&gt;Review by Alberto Hernández in Letralia&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://prodavinci.com/eleonora-requena-las-palabras-estan-hay-que-escuchar-su-diccion-de-fondo/"&gt;Interview with the author in Prodavinci&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="http://laguiadecaracas.net/53587/eleonora-requena-de-la-sed-a-los-textos-por-fuera/"&gt;Profile on the author in La Guía de Caracas&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;br /&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1356047559"&gt;WorldCat Record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>The title of this book comes from a verse that, perhaps, can serve as a synthesis of what I’ve tried to do in poetry—something that has been present in the collections I’ve published for a little over thirty years. Life has now gifted me sixty years, and in celebration of that fortune, that is the number of poems the reader will find in this brief selection. https://edicionesdelalineaimaginaria.com/product/uno-en-verdad-hace-lo-que-puede-arturo-gutierrez-plaza/&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/03bca16b4bedbfc3da933911b04ab733.png" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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&lt;h3&gt;&lt;a href="https://www.diariolasamericas.com/cultura/hoy-sabado-la-feria-del-libro-miami-n5346855"&gt;Presentation at the Miami Book Fair&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1407231958"&gt;WorldCat Record&lt;/a&gt;&lt;/h3&gt;</text>
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&lt;h3&gt;&lt;a href="https://latinamericanliteraturetoday.org/es/2022/06/cuidados-intensivos-de-arturo-gutierrez-plaza/"&gt;Review by Gabriel Payares in Latin American Literature Today&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://letralia.com/ciudad-letralia/poesia/2022/08/01/cuidados-intensivos-arturo-gutierrez-plaza/"&gt;Review by Luis Perozo Cervantes in Letralia&lt;/a&gt;&lt;/h3&gt;&#13;
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                <text>Arturo Gutiérrez Plaza (Caracas, Venezuela, 1962) is an unavoidable voice in Venezuelan poetry. His precise language, stripped of rhetoric, draws us with reflection, depth, and conciseness into the everyday, examining lost places, the experience of wandering, the absences that surround distant cities, and urban life with its landscapes and solitudes. His is the forcefulness of the gaze that takes notes, the confidence in the verb that not only knows how to doubt but also warns of its fragility. Eugenio Montejo said of his poetry: "It is the eye that in his poems almost always assumes the privilege of arranging the words on the blank page." Gutiérrez Plaza is the author of the following poetry titles: Al margen de las hojas (1991), Principios de contabilidad (2000), Pasado en limpio (2006), Cuidados intensivos (2014), and Cartas de renuncia (2020). He also has several essays, anthologies, and literary research books. He holds a PhD in Romance Languages ​​and Literature and is a full professor at Simón Bolívar University (Caracas). He has won, among others, the Mariano Picón Salas Biennial Poetry Prize (1995), the Sor Juana Inés de la Cruz Hispano-American Poetry Prize (1999), and the Transgender Prize from the Foundation for Urban Culture (2009). https://www.visor-libros.com/products/el-cangrejo-ermitano&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/8da692dde0cd13a2c9717034c957c902.jpeg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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&lt;h3&gt;&lt;a href="https://prodavinci.com/arturo-gutierrez-plaza-palabras-que-saben-dudar-2/"&gt;Review by Rafael Courtoisie in Prodavinci&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://elestimulo.com/cultura/2020-08-08/el-cangrejo-ermitano-ideas-sueltas-en-torno-a-un-viaje/"&gt;Review by Fedosy Santaella in &lt;em&gt;El Estímulo&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.visor-libros.com/products/el-cangrejo-ermitano"&gt;Publisher's page at Visor Libros&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1191456920"&gt;WorldCat Record&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>If there is a dominant literary genre in Venezuela, it is undoubtedly poetry. A reading of the twentieth century reveals an admirable thirst for modernity and cosmopolitanism. One of the main reasons for presenting the expansive vision offered by this anthology to an international audience may well be found in what Álvaro Mutis once said about the poetry of Venezuelan writer Juan Sánchez Peláez, describing it as “Latin America’s best-kept secret.” One of his emblematic books, Rasgos comunes (Common Traits), lends its title to this volume to underscore the idea that convergence outweighs disparity. What lingers after reading is a powerful sense of embodiment—a sense that the best version of the nation is the one expressed here. (&lt;a href="https://pre-textos.com/producto/rasgos-comunes/"&gt;Pretextos)&lt;/a&gt;&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/29e22ffe1df659d0cb9b5f0e4defcb95.jpg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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                <text>&lt;h3&gt;&lt;a href="https://prodavinci.com/rasgos-comunes-una-antologia-de-la-poesia-venezolana-del-siglo-xx/"&gt;Review by Rafael Castillo Zapata in &lt;em&gt;Prodavinci&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://letralia.com/ciudad-letralia/poesia/2019/10/21/rasgos-comunes-antologia-de-la-poesia-venezolana-del-siglo-xx/"&gt;Review by José Pulido in &lt;em&gt;Letralia&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.eluniversal.com/entretenimiento/52519/rasgos-comunes-antologia-de-la-poesia-venezolana-del-siglo-xx"&gt;Article about the anthology in &lt;em&gt;El Universal&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.el-nacional.com/papel-literario/rasgos-comunes/"&gt;Review in &lt;em&gt;Papel Literario&lt;/em&gt; (&lt;em&gt;El Nacional&lt;/em&gt;)&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.worldcat.org/oclc/1090108276"&gt;WorldCat Record&lt;/a&gt;&lt;/h3&gt;&#13;
&lt;h3&gt;&lt;a href="https://www.edicionesbidandco.com/producto/rasgos-comunes-antologia-de-la-poesia-venezolana-del-siglo-xx/"&gt;Publisher's page at &lt;em&gt;Bid &amp;amp; Co. Editor&lt;/em&gt;&lt;/a&gt;&lt;/h3&gt;</text>
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                <text>In &lt;em&gt;Wild West&lt;/em&gt;, the author explores the unprotected civic space and the abandonment brought about by a State that, perilously, has withdrawn from the city. From this perspective, the work reflects on the destruction caused by the collapse of social agreements. The city, it seems, is dead; now, only the periphery remains. Born of a disillusionment with no desire for restoration, the poetic voice emerges as the inhabitant of evil—one who points to love, pestilence, and the noise of this urban horizon. Here we encounter the “potential murderer,” the neighbor who “lashes out at his wife,” and the body awaiting its worms.&lt;br /&gt;&lt;br /&gt;&lt;img src="https://archivovenezuela.com/files/original/5f825a23a9da70b80c07b970eb3bce55.jpg" alt="Thumbnail" style="max-width: 200px; height: auto; display: block; margin: 10px 0;" /&gt;</text>
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                <text>"Lisbeth Coiman is a dazzling new voice. With tender rage, she excavates what it means to love and grieve a homeland." &lt;br /&gt;Ariel Gore, author of &lt;em&gt;Hexing the Patriarchy: 26 Potions, Spells, and Magical Elixirs to Embolden the Resistance and F*ck Happiness&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;"Lisbeth Coiman writes 'Before I was born / A pristine future / streamed down from El Ávila tributaries' in the opening of her poem 'El Guaire.' With these words and beyond, I am also taken to my point in history, the promise that we are all born into without knowing what's to come, and how we are as individuals and as a collective, forced to reckon with a past that we are killing off to chase a promise of a better future. For immigrants, this carries a bigger weight, as we are both killers of self while our selves are so often the victims of a society that wants to kill us. Coiman's collection is a deeply personal work that makes us revisit the guilts and the angers that we carry." &lt;br /&gt;&lt;strong&gt;Chiwan Choi&lt;/strong&gt;, author of &lt;em&gt;The Yellow House&lt;/em&gt; &lt;br /&gt;&lt;br /&gt;"UPRISING/ALZAMIENTO es un libro desgarrador, sincero y nostálgico. Se entremezclan los recuerdos de infancia, el exilio y los retos de la enfermedad mental. Es además un testimonio de vivir y narrar entre lenguas." &lt;br /&gt;&lt;strong&gt;Nathalie Bouzaglo&lt;/strong&gt;, editora de &lt;em&gt;Excesos del Cuerpo&lt;/em&gt;, y autora de &lt;em&gt;Ficción Adulterada&lt;/em&gt;. &lt;br /&gt;&lt;br /&gt;"Weaving history, current events, and personal narrative, Lisbeth Coiman takes us on a vivid exploration of what it means to rise up, as a Venezuelan both within the country and from afar, as an immigrant in new lands, and as a woman in patriarchal societies. Longing and loss mix with resolve and resilience as Coiman teaches us that uprisings are never simple or painless, but that they can be beautiful and are almost always necessary on the path towards a more just world. Uprisings / Alzamiento is that 'despertador en tu mesa de noche // Una campana en tus oídos' ('clock on your beside table // ringing in your ears') we all need right now, waking us up to the urgent need to take action in the face of injustice even when-especially when-we are afraid of what might come next."&lt;br /&gt;&lt;strong&gt;Li Yun Alvarado&lt;/strong&gt;, author of &lt;em&gt;&lt;em&gt;Words or Water&lt;br /&gt;&lt;br /&gt;&lt;/em&gt;&lt;/em&gt;&#13;
&lt;h4&gt;&lt;strong&gt;About the Author&lt;/strong&gt;&lt;/h4&gt;&#13;
&lt;div class="a-section a-spacing-small a-padding-small"&gt;&lt;span&gt;Lisbeth Coiman is a poet, educator, and cultural worker born in Venezuela. Coiman's wanderlust spirit landed her to three countries-from her birthplace to Canada, and finally the USA, where she self-published her first book, &lt;em&gt;I Asked the Blue Heron: A Memoir&lt;/em&gt; (2017). Her poetry and personal essays are featured in the online publications: &lt;em&gt;La Bloga&lt;/em&gt;, E&lt;em&gt;ntropy Acentos Review&lt;/em&gt;, &lt;em&gt;Lady/Liberty/Lit,&lt;/em&gt; &lt;em&gt;Nailed&lt;/em&gt;, &lt;em&gt;Hip Mama Magazine&lt;/em&gt;, &lt;em&gt;Rabid Oaks&lt;/em&gt;, &lt;em&gt;Cultural Weekly&lt;/em&gt;, and &lt;em&gt;Resonancias Literarias&lt;/em&gt;. In print media &lt;em&gt;Spectrum&lt;/em&gt; v.16, &lt;em&gt;The Altadena Literary Review&lt;/em&gt;, and &lt;em&gt;Accolades: A Women Who Submit Anthology&lt;/em&gt;. An avid hiker, and teacher of English as a Second Language, Coiman lives in Los Angeles, CA.&amp;nbsp;&lt;/span&gt;&lt;/div&gt;</text>
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                <text>"El Guaire" by Lisbeth Coiman&lt;iframe width="560" height="315" src="https://www.youtube.com/embed/16BptoOn8NM?si=T1GFfSPC6VbPx438" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;&lt;br /&gt;&lt;br /&gt;A bilingual poetry event in English and Spanish with four acclaimed authors whose voices brazenly reveal the injustices of corrupt governments, political exile, forced displacement, as well as unabashedly celebrate the joys and complexities of their multicultural heritage. Through their literary work, each poet explores their own personal histories, their own passionate desires, and their own journeys across the Americas. The reading features Venezuelan poets &lt;strong&gt;Lisbeth Coiman&lt;/strong&gt;, author of the recently published bilingual poetry collection &lt;em&gt;&lt;strong&gt;Uprising/Alzamiento&lt;/strong&gt;&lt;/em&gt; (Finishing Line Press), and &lt;strong&gt;Leonora Simonovis&lt;/strong&gt;, author of &lt;a href="https://archivovenezuela.com/en/items/show/95"&gt;&lt;strong&gt;&lt;em&gt;Study of the Raft&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;, winner of the 2021 Colorado Prize for Poetry, Mexican-Salvadorian poet &lt;strong&gt;Iris de Anda&lt;/strong&gt;, author of &lt;em&gt;Roots of Redemption: You Have No Right to Remain Silent&lt;/em&gt; (Flowersong Press), and East L.A.-born poet &lt;strong&gt;Olga García Echeverría&lt;/strong&gt;, author of &lt;em&gt;Falling Angels: Cuentos y Poemas&lt;/em&gt; (Calaca Press). &lt;iframe width="560" height="315" src="https://www.youtube.com/embed/TMZoyTMXGhc?si=ouFt_3o3prvrRLfM" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen="allowfullscreen"&gt;&lt;/iframe&gt; &lt;br /&gt;&lt;br /&gt;"&lt;a href="https://losangelesliterature.com/2024/06/13/the-influencers-writers-talk-about-who-shaped-their-work-lisbeth-coiman/"&gt;The Influencers: Writers Talk About Who Shaped Their Work – Lisbeth Coiman&lt;/a&gt;", interviewed by Brian Dunlap.</text>
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                <text>&lt;strong&gt;&lt;a href="https://cuadernoshispanoamericanos.com/la-poesia-de-maria-auxiliadora-alvarez-como-imperativo-vital/"&gt;Article by Juan Carlos Abril, &lt;em&gt;"The Poetry of María Auxiliadora Álvarez as a Vital Imperative,"&lt;/em&gt; Cuadernos Hispanoamericanos, April 1, 2021&lt;/a&gt;&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&#13;
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&lt;p&gt;«Desacuerdo»&lt;br /&gt;&lt;br /&gt;El rugido&lt;br /&gt;ensordecedor&lt;br /&gt;del mar&lt;br /&gt;se interpone&lt;br /&gt;entre&lt;br /&gt;las dos)&lt;/p&gt;&#13;
&lt;p&gt;yo le digo:&lt;br /&gt;creo&lt;br /&gt;que estamos&lt;br /&gt;ahogadas&lt;/p&gt;&#13;
&lt;p&gt;ella responde:&lt;br /&gt;no&lt;br /&gt;No estamos&lt;br /&gt;ahogadas&lt;/p&gt;&#13;
&lt;p&gt;yo le digo:&lt;br /&gt;yacemos&lt;br /&gt;a la par&lt;br /&gt;en el fondo&lt;br /&gt;del mar&lt;br /&gt;&lt;br /&gt;&lt;/p&gt;&#13;
&lt;/div&gt;&#13;
&lt;strong&gt;&lt;a href="https://www.facebook.com/share/v/1NKdoc7k88/"&gt;Presentation of the anthology organized by the Fundación Centro de Poesía José Hierro&lt;/a&gt;&lt;/strong&gt;&lt;br /&gt;&lt;br /&gt;&lt;br /&gt;&#13;
&lt;p&gt;&lt;strong&gt;Presentation of &lt;em&gt;La mañana imaginada&lt;/em&gt; by Rodolfo Häsler&lt;/strong&gt;&lt;/p&gt;&#13;
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&lt;p&gt;&lt;strong&gt;Interview with María Auxiliadora Álvarez by César Eduardo Carrión for &lt;em&gt;MURA Revista Literaria&lt;/em&gt;.&lt;/strong&gt;&lt;/p&gt;&#13;
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                <text>"The author began writing this poetry collection ten years ago, following the murder of two women (mother and daughter) in Caracas. The news coverage focused more on sensationalism than on denouncing violence, as photos of the two women’s burned bodies went viral on Twitter and the country's public television. This injustice and cruelty—both social and personal—drove the author to write this book, this testimony.&#13;
&lt;p&gt;Luis Muñoz, Ana Merino, and Enrique Winter have supported this work, whose main goal has always been to recover the case and honor the voices of these two women, without sensationalism and with deep respect. Through a book of poetry, the aim is to keep alive the memory of what happened on February 23, 2010" (&lt;a href="https://www.amazon.com/-/es/Oriette-DAngelo/dp/8412365194"&gt;Source&lt;/a&gt;).&lt;/p&gt;&#13;
&lt;p&gt;&lt;span&gt;Writer, visual artist, and academic. She is currently pursuing a PhD in Latin American Literature at the University of Iowa, where she also completed an MFA in Creative Writing in Spanish. She is the founder and editor of the digital magazine&amp;nbsp;&lt;/span&gt;&lt;a href="https://digopalabratxt.com/"&gt;Digo.palabra.txt&lt;/a&gt;&lt;span&gt;&amp;nbsp;and the research and dissemination project &lt;em&gt;#PoetasVenezolanas&lt;/em&gt;.&lt;/span&gt;&lt;/p&gt;&#13;
&lt;p&gt;&lt;strong&gt;Books:&lt;/strong&gt;&lt;/p&gt;&#13;
&lt;ul&gt;&#13;
&lt;li&gt;&lt;em&gt;Pájaro que muerde. Diario de Iowa, 2018-2019&lt;/em&gt; (&lt;em&gt;LP5 Editora&lt;/em&gt;, 2022)&lt;/li&gt;&#13;
&lt;li&gt;&lt;em&gt;Inquietud&lt;/em&gt; (&lt;em&gt;Digo.palabra.txt&lt;/em&gt;, 2021; translated into English by Lupita Eyde-Tucker as &lt;em&gt;Restlessness&lt;/em&gt;, to be published by &lt;em&gt;Scrambler Books&lt;/em&gt; in 2023)&lt;/li&gt;&#13;
&lt;li&gt;&lt;em&gt;Cardiopatías&lt;/em&gt; (&lt;em&gt;Monte Ávila Editores&lt;/em&gt;, 2016; &lt;em&gt;Premio para Obras de Autores Inéditos&lt;/em&gt;, 2014).&lt;/li&gt;&#13;
&lt;/ul&gt;&#13;
&lt;strong&gt;&lt;a href="https://www.oriettedangelo.com/"&gt;Oriette d'Angelo's website&lt;/a&gt;&lt;/strong&gt;.</text>
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                <text>&lt;a href="https://encuentrosdykinson.com/literatura/oriette-dangelo-violencia-de-genero/"&gt;Interview with Oriette D'Angelo on the publication of &lt;strong&gt;&lt;em&gt;En mi boca se abrirá la noche&lt;/em&gt;&lt;/strong&gt;&lt;/a&gt;</text>
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With her keen ear, Latin America now takes center stage in her work, portrayed through the prose of its excesses and contradictions, in an effort to name what is ours. The author has traveled and read every corner of the continent, becoming an ideal voice for the syncretism of its local traditions. She answers us only to make us question again—about identity, about what we are in the cosmos, in the autistic spectrum, in abandonment and pain, as well as in the celebration of difference, both human and stylistic, within the composition of her verses.&#13;
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