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Sara Torres

Updated: Feb 26

Sara Torres works at Autonomous University of Barcelona, where she teaches within the fields of literary theory and comparative literature, cultural and gender studies. MA in Critical Methodologies (Kings College London). Her doctoral project, supported by a research grant at Queen Mary University of London, is entitled: "The Lesbian Text: Fetish, Fantasy and Queer Becomings." With the book La otra genealogía (Madrid: Torremozas) she won the Gloria Fuertes National Poetry Prize. Conjuros y Cantos was published in 2016, edited by Krilller 71. In 2016 she obtained a residency scholarship at the Antonio Gala Foundation during which she wrote the unpublished novel Vida Mínima (special mention BFAG). Her latest book, Phantasmagoria, edited by La Bella Varsovia, appears linked to an aesthetic project developed with artist Marta Velasco Velasco.



perforar

abrir en el abdomen

como otro esfínter como otra boca

desde ahí

la puerta al mundo

y en el suelo

¿quién retorcida

con una langosta de tres pinzas

en la mano?

.

.

to perforate

to make an opening in the abdomen

like another sphincter like another mouth

from here

the world’s door

and on the ground

who is it twisting

with a three-clawed lobster

in her hand?


blanco era alucinación

mientras turba destila los restos

un cuerpo jamás existió erguido

fingía en la tarde antes del siguiente pliegue

su mitad de oruga acartonándose

almíbar cargado hasta tocar el agua

saludo. varias cabezas de lombriz

tras cortar la tierra

y con ella

el gesto. luego ya no

membrana a sus grietas

todo el cuero cabelludo al descubierto

hay que dejarlo ir

hay que dejarlo ir mientras se está ausente

no se puede justo parar a observar

como caen

uno a uno

no se puede justo sujetar la conciencia

hay que dejarlo ir

.

.

white was hallucination

while peat distills the remains

a body never existed erect

pretending in the evening before the following fold

its caterpillar-half stumbling

syrup charged until touching the water

a greeting. various wormheads

beyond cutting the earth

& with her

the gesture. then already not

membrane to its fissures

the scalp uncovered

you have to let it go

you have to let it go while you are absent

you cannot just stop to observe

as they fall

one by one

you cannot just subject the conscience

you have to let it go


la mano agarró un objeto

una urna. superficie picoteada por el óxido

si el deseo modula. y devuelve una imagen. y decide quedarse

decaerá embalsamada como ablanda

su mitad de larva

medio giro para allá…

la canción consistía

en un extraño tarareo

.

.

the hand grasped an object

an urn. surface pocked with rust

if desire inflects. and returns an image. and it decides to stay

it will decay embalmed as it softens

its lava-half

half turned over there

the song consisted

of a strange humming


viento cálido

humedad imposible de la arena

hay placer

porque no hay ansiedad

en esta emoción

.

.

hot wind

impossible humidity of the sand

there’s pleasure

because there’s no anxiety

in this emotion


cada vez que el miedo

abandona

parece una guerra ganada

en un pasado remoto

.

.

every time the fear

leaves

it seems as a war won

in a remote past


no hay enigma que resolver

se ha cancelado la búsqueda

¿así?

así

.

.

there’s no enigma to resolve

the search has been cancelled

like so?

like so.

es inútil comparar

si acaricio el flanco izquierdo

se quiebra hacia la derecha

pero si raspo el derecho

con el borde de la uña

pronto aparece inmóvil

sorprendida

si sube agita la cadera

busca hacia delante

mantiene la fuerza

en las clavículas

luego cae con el tórax

abierto

parece que se queja

en gemidos cortos

largamente

cubre con saliva

los soles de las palmas

se recoge en silencio

cargada de agua

pesada de aceite

escarabajo celeste

curvando la hoja

con las patas dobladas

es inútil comparar

si realiza

su potestad total movimiento

y baja el punto de equilibrio

y se extiende

y ceden las rodillas

¿qué era lo anterior

lo erguido

cómo se volvía?

¿acaso se volvía?

es inútil

recogió los restos de las nueces

al dejarlas caer sobre la losa

una manada de yeguas golpea la piedra

y se hunde en la arena

alguien estrecha su rienda

pero el cuerpo enlodado

y le corta la boca

comparar es inútil

.

.

it is useless to compare

if I caress the left flank

it cracks to the right

but if I scrape the right

with the edge of a nail

it quickly seems still

surprised

if rises shakes the hip

looks ahead

maintains the force

in the clavicles

then falls with the thorax

open

seems to complain

in short moans

lengthily

covers with saliva

the suns of the palms

retracts in silence

charged with water

heavy with oil

blue beetle

curving the leaf

with bent legs

it is useless to compare

if she reaches

her total potential for movement

and lowers the equilibrium point

and extends it

and yields at the knees

what was before

the erect

how did she return?

did she return?

it’s useless

she collected the remains of the nuts

to leave them dropped on the slab

a pack of mares strikes the stone

and sinks into the sand

someone narrows her reins

but the body is mired

and it cuts the mouth

to compare is useless


con la fuerza de ¿dos brazos?

sujeta ¿un hacha?

diente amarillo satén

consiste en dejarla caer

sobre el tronco

varias veces

se trata de

que el contacto con filo

provoque surco

se trata de

que la incisión del cuerpo

que avanza

sea más obcecada que el

deseo de la madera

por permanecer unida

así decimos

vencer es vencer

por obcecación

trayectoria y golpe

en la línea que adivina una fisura

así decimos

hacer del árbol pieza

de una pieza dos

de una pieza tres

luego astillas

serrín

ceniza

.

.

with the strength of, two arms?

holds, an axe?

yellow satin tooth

it consists of letting it fall

upon the trunk

several times

it’s about

the body’s cut

that advances

being more stubborn than the

desire of wood

to remain united

like that we say

to conquer is to conquer

by stubbornness

trajectory and blow

in the line that divines a fissure

like that we say

make the tree a piece

of one piece two

of one piece three

then splinters

sawdust

ash


alguien acerca un pan al fuego

después toma asiento

deja caer los brazos

a cada lado

una idea le obsesiona;

¿era un espino blanco

o un manzano?

¿qué diferencia había entre esto y otra cosa?

.

.

someone holds bread to the fire

then takes a seat

lets the arms drop

at each side

an idea obsesses her

it was a white hawthorn

or an apple tree?

what difference was there, between this thing and another?


Translations by : Madeleine Stack

Madeleine Stack is a poet and artist. Her long-form poem 'Portable Monument' was commissioned by the BBC in 2019 for national radio broadcast. Recent writing has been published in BOMB Magazine, aqnb, Another Gaze, Salt, un magazine and Doggerland. She is co-editor of Canal, a multilingual publication of poetry and politics, and her first novel, 'Vitrinerie', was published in 2017 by Nubile Press. Recent UK exhibitions, performances and readings include Institute of Contemporary Arts, The Koppel Project, LUX Moving Image, Peer Gallery, Gossamer Fog, and The Southbank Centre (all London), and Eastside Projects (Birmingham). She is currently studying to be a midwife and working on her second novel, 'World Peace'.


















Translations by : Elliot C. Mason

Elliot C. Mason (he/him) is a poet, playwright and essayist, working as a writer and consultant for state schools in South London. His poems and essays have been widely published, including in 3:AM, MAGMA, SPAM, Review31 and Site Writing, and his plays performed at many London theatres. His first collection of poetry/essays, City Embers, is coming out with Death of Workers Whilst Building Skyscrapers press in March 2020, and his second, Materials for Building a City, is coming out with Marble Poetry at the end of 2020. His website is: https://pennydropscollective.org/





[renuncié a la ligereza … ] i got rid of lightness


i got rid of lightness


idiotic for wanting to live

with concrete memory, with narratives

my fetish is the archive

the plexus flattened me


asphyxiation in the chain of meaning

foolish for regretting choices




[oh no … ] oh no


oh no. i want no less. the apparatus holds

the recorded voice’s register. tonalities and

textures of voices, lightened by minor frustration. speak

about my body. about living this close to my body.

feed it. groom and braid it, flannel me.

the archive doesn’t lie. the cracks of pain still

open in her throat. i could have grazed

her, rubbing hard that night, and everything

about her would have shivered. maybe

it isn’t what i wanted. (wanted?) beside

me now, whichever way. i want the voice

gone forever. the sad voice of losing the

yearning voice and not her




[no sabiendo y de algún] neither knowing nor


neither knowing nor in any way prepared

to come, she comes. the idea is to cover the will

while flaunting. she’s sitting right beside

her by the patio and speaking hurriedly.

two who hardly know each other now begin

a journey [?] of another sort. there’s a tree

tangle-rooted in the coastal sands. that’s the scene.

polished shell on a cloth of blueish yarn. the territory

that resists opening into the next station tends […]

to be beside the territory where the will is dropped

at the door […;] a stranger sees [!+”] a body

rising to the rooftop [. .] she prepares herself

in the mirror [ - ] suppose she’ll have to remember

something [?] the way she looked … that’s it [//]

the music of the hand that rested on a thigh [<!] inci-

sion in the scenic ambiguity [))] the text that describes

relationships is absent [“”] patterns of [.] conduct [/*] so.

two who hardly know each other cross [/!] the night. .

by the next morning someone brings [&&]

a nectarine to bed . she cuts it with a little knife. and

offers it to the other


like that?

like that




[prender. no dejar] switch it on. don’t let


switch it on. don’t let a single ray slip away.

thought it was the last ray of all. come in and

don’t go or just go now. now. don’t keep appearing

on the other side. pressing knuckles up to wood. you bring

little flowers to an empty house. the nape of the desert

that burns all afternoon. the belt is always flexible in shock.

so get out. don’t leave juicy flesh on thirsty tongues. anymore.

you bring cotton buds bring river herbs. and all of it

for whom? what do you see. who’s looking at you. who

buries their fingers in you to say


sit down come on


yeah it’s weird

a lot like pain a lot like something else

something i have no word for














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