Posts featuring Jerome Rothenberg

A Counter-Interview with Heriberto Yépez

A (counter)interview is closer to an audacious conversation in which words are thrown like knives at a spinning reader.

I am not experimental

By Will.

English is not my mother

I cannot be but experimental

Inside Empire.

— “2001”

If an interview is a polite conversation wherein the interviewer thoughtfully poses questions and the interviewee eagerly answers, not unlike a racquet sports match, a (counter)interview is closer to an audacious conversation in which words are thrown like knives at a spinning reader.

A regular interview won’t do, especially if the knife-thrower is none other than Heriberto Yépez. Yes, his name is struck out, indicating recently deleted information, in this case, traditional authorship.

pez was born in Tijuana, the world’s busiest land border crossing, in 1974. During his teens, he worked in a maquiladora and later studied under German philosopher Horst Matthai Quelle. Since the early 90s, pez has been on the frontline of experimental writing and radical politics on both sides of the border.

His ruthless criticism has brought him admirers and detractors in English and Spanish. Controversies include the Olson Affair, in which Il Gruppo (Benjamin Hollander, Amiel Alcalay, et. al.) accused him of deliberately misreading Charles Olson in The Empire of Neomemory (ChainLinks, 2013), and regular Twitter-based confrontation with members of the American and Mexican cultural establishments.

When his weekly column of cultural journalism, Archivo Hache, was shut down, he finished off by saying: “I was critical in all directions. If I did not critique someone, I apologize for the oversight.” Ever since, Heriberto has favored blogs, social media, and other alternative options to traditional publishing. Last year, he worked on Mexiconceptual, a month-long project that involved him posting a different poem reflecting on the museum as an institution every day on a website. The texts would disappear 24 hours after being displayed and could only be read afterward through links shared on social media. It is now available in book form.


Translating Indigenous Mexican Writers: An Interview with Translator David Shook

"I suspect many casual bookstore readers might not know how many languages are still spoken in Mexico. The sheer diversity is astounding."

David Shook is a poet, translator, and filmmaker in Los Angeles, where he serves as Editorial Director of Phoneme Media, a non-profit publishing house that exclusively publishes literature in translation. Their newest book is Like a New Sun, a collection of contemporary indigenous Mexican poetry, which Shook co-edited along with Víctor Terán.

Seven translators in total—Shook, Adam W. Coon, Jonathan Harrington, Jerome Rothenberg, Clare Sullivan, Jacob Surpin, and Eliot Weinberger—translated poets from six different languages: Juan Gregorio Regino (from the Mazatec), Mikeas Sánchez (Zoque),  Juan Hernández Ramírez (Huasteca Nahuatl), Enriqueta Lunez (Tsotsil), Víctor Terán (Isthmus Zapotec), and Briceida Cuevas Cob (Yucatec Maya). I corresponded with Shook over gchat to speak with him about the project.


Today is Columbus Day, a controversial holiday in the United States. Several cities have recently adopted Indigenous Peoples’ Day over Columbus Day, clearly a victory for recognizing indigenous cultures in the United States. Which leaves me wondering: how are the indigenous Mexican writers recognized today in the Mexican literary landscape?

As someone who regularly visits Mexican literary festivals and also translates from the Spanish, I’ve observed the under-appreciation of indigenous writers firsthand. Mexico’s indigenous communities make up 10 to 14% of its total population, and you certainly don’t find anywhere near that percentage of literature being published in Mexico today. READ MORE…