Teresa Margolles

Ni uno más

Siempre hay más

Jen Hofer

Teresa Margolles, Bandera (Flag), Fabric dyed with blood from executions

Hay que hablar de cobardía que es la manera en que se entiende aquí el aire.
Hay que hablar de miedo.
Es decir,
hay que hablar de historia.

We must speak of cowardice which is the way to understand the air here.
We must speak of fear.
That is,
we must speak of history.
Juan Carlos Bautista, “Cabezas” (“Heads”)

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Photo of Anne Tardos (right) at the Kelly Writers House, March 15, 2016, taken by Writers House staff.

It’s exhilarating to say things. Giddy and strange to put things in the air nobody has heard. Exultant and juicy to make proposals at the interphase between language and reality. I feel these things keenly reading Anne Tardos. “It must be crisp not cryptic, if you want to write,” reads the first line of “Gentle Deer On 10th Avenue,” “There is this come-and-go of ideas, impressions, fears, uncertainties.”[1]

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Sylvia Plath spent the summer of 1953 in New York working for Mademoiselle magazine. In the first sentence of The Bell Jar, Esther Greenwood, Plath’s narrator, tells us “I didn’t know what I was doing in New York.” Esther’s inability to know — to know what she was doing and whether her life was worth it — is contextualized by the executions of Julius and Ethel Rosenberg.

Stanley Cavell (1926–2018)

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I met Stanley Cavell almost fifty years ago and he and his work have been constant companions since that time. I am grateful for his friendship and that of Cathleen Cavell, over all these years.