Fractura en oro*

Notes

We discussed the poem's title in detail and proposed various alternatives, such as 'Fisura en oro', 'Rotura en oro', and 'Fractura dorada'. Finally, after translating the entire poem, we arrived at a definitive title. We agreed upon 'Fractura en oro' as it seemed to fit the original title better. It conveyed physical fracture and a more abstract fragmentation, including linguistic, cultural, and historical aspects.

In the second line, we deliberated about the word 'shattered' in relation to the pieces being held. Initially, we considered using 'hecho añicos', but we decided to use the more visual 'que se han quebrado'. This option tries to emphasise the fragmentation that is present throughout the poem.

During our conversation about the term 'liquid glue', we discussed how it is referred to in various Latin American countries. We came across terms like 'cola', 'goma', and 'pegote'. Initially, 'pegamento líquido' seemed lengthy and clunky for a translation, and the connection between the two seemed too obvious. However, we ultimately decided that it was the most appropriate choice. This was because it maintained the watery connotation that links the substance to a stream, and we couldn't find another Spanish word for glue that didn't sound odd or too technical for the poem's register.

We had a fascinating debate about how to translate 'corazón' and 'yóllotl'. Both these words are a direct reference to Marina's tongues and identities. We felt that it was important to translate ‘corazón’ into English while keeping the Náhuatl word to emphasise the language that the poet refers to in the second stanza, which talks about 'the sorrow of not speaking my ancestor's tongue.'

Sánchez’s poem prompted us to consider the fractures in migrant identity and how to explore bilingualism and mixed heritage as poets and translators.

Leo Boix, Poet-facilitator