Claudina Domingo began the poems in Transit by walking 24 routes through Mexico City and registering the accretions of those experiences. First published by the Mexico City-based editorial Tierra Adentro in 2011, Ryan Greene's 2024 translation with Eulalia Books puts the book in conversation with poetic texts in English interested in spatial practices in the situationist lineage. Domingo’s routes chart, as Greene describes, “a path past ‘half-chewed’ churches, through churning markets, and under rain-drenched awnings” as the poems trace onto the page an accumulated streetscape of Mexico City’s pasts and presents.
Claudina Domingo began the poems in Transit by walking 24 routes through Mexico City and registering the accretions of those experiences. First published by the Mexico City-based editorial Tierra Adentro in 2011, Ryan Greene's 2024 translation with Eulalia Books puts the book in conversation with poetic texts in English interested in spatial practices in the situationist lineage. Domingo’s routes chart, as Greene describes, “a path past ‘half-chewed’ churches, through churning markets, and under rain-drenched awnings” as the poems trace onto the page an accumulated streetscape of Mexico City’s pasts and presents.
Domingo instigates the question of how to mark on the page that which the poet simultaneously experiences in the cityscape. But what does it actually mean to convey a city’s “500 years of collaging over itself” in the space of a page? (125)
Mexican writer and academic Cristina Rivera Garza introduced the term disappropriation (desapropiación) in her essay book Los muertos indóciles (Tusquets Editores, 2013). Based upon the idea that language is a common good, the term indicates that the writer who works with documentation is actually disappropriating that language in order to give it back to the community. For the benefit of the collective. This testimonial is the poetry of the people. The question “Is appropriation OK?” has been rendered pointless.
What we experience—the information that impacts our consciousness—frames how and what we are able to think. How we frame and understand what we experience influences our approach to the world, opens (or closes) us to new experiences, new frames.
“Deep alongsideness”: translating the city in parentheses, quotation, and book objects
A review of Claudina Domingo’s ‘Transit’ translated by Ryan Greene (Eulalia Books, 2024)
Claudina Domingo began the poems in Transit by walking 24 routes through Mexico City and registering the accretions of those experiences. First published by the Mexico City-based editorial Tierra Adentro in 2011, Ryan Greene's 2024 translation with Eulalia Books puts the book in conversation with poetic texts in English interested in spatial practices in the situationist lineage. Domingo’s routes chart, as Greene describes, “a path past ‘half-chewed’ churches, through churning markets, and under rain-drenched awnings” as the poems trace onto the page an accumulated streetscape of Mexico City’s pasts and presents.
Claudina Domingo began the poems in Transit by walking 24 routes through Mexico City and registering the accretions of those experiences. First published by the Mexico City-based editorial Tierra Adentro in 2011, Ryan Greene's 2024 translation with Eulalia Books puts the book in conversation with poetic texts in English interested in spatial practices in the situationist lineage. Domingo’s routes chart, as Greene describes, “a path past ‘half-chewed’ churches, through churning markets, and under rain-drenched awnings” as the poems trace onto the page an accumulated streetscape of Mexico City’s pasts and presents.
Domingo instigates the question of how to mark on the page that which the poet simultaneously experiences in the cityscape. But what does it actually mean to convey a city’s “500 years of collaging over itself” in the space of a page? (125)