Prose translators will likely disagree, but I believe translating poetry requires a significant level of talent, a commitment to the text, and near mania, all of which suggests that the undertaking is the greatest possible challenge. The task is to take a form of writing known for its discipline, its strict forms, rhymes, and meanings suggested through language and render it into a second tongue. It糖心传媒檚 inevitable that something will be lost in the process of translation. Prose might survive such a transformation (it may even benefit from it), but poetry is wounded each time it糖心传媒檚 translated. I don糖心传媒檛 speak Italian, but I know for sure that I糖心传媒檓 missing something when I read Dante in English.

Perhaps this is why so much of the poetry in translation I come across seems to fall into the free verse, avant-garde category. One need not fret over how to turn a rhyme from a language like Spanish糖心传媒攁 language that allows for easy rhyming糖心传媒攊nto English when the original doesn糖心传媒檛 rhyme. Iambic pentameter from French to English could be rough, but if the French poem doesn糖心传媒檛 adhere to a rigid pattern, so much the better for the translator.

That being the case, the free verse poems had better be good. That糖心传媒檚 significant pressure on the integrity of the work. A mediocre but clever work in one language can easily fall flat when presented in another. Cultural quirks or idioms might carry an otherwise slight poem, but, robbed of these strengths via translation, the work is ineffective.

Of course, this being a fool糖心传媒檚 errand, it is inherently worth doing. Why not try to climb Everest? And it stands to reason that poetry translations are often published with the original nearby so the dedicated reader can at least compare the two versions, even if they have no skill with the original language. Read Vicente Huidobro in Spanish糖心传媒攅ven if you just sound out the words without understanding them, you糖心传媒檒l grasp some musicality sacrificed by translation. The hope is that committed readers will take the time to approach poetry in translation differently than translated prose. Poetry, being language at its apex, deserves the effort.

This is a long way of stating that the book, Radio: Wireless Poem in Thirteen Messages by Kyn Taniya (born Luis Quintanilla) is worth your attention. Published by Cardboard House Press in a slim volume, Radio is something to observe, an artifact from a not-so long ago era (1924) when lines like 糖心传媒淭he full moon anesthetized all the gardens / and in the romantic night / a nude woman spills tears of orange-flower water糖心传媒� connected with readers, a time when the 糖心传媒渁vant-garde糖心传媒� was as engaging as it was baffling.

Kyn Taniya is concerned with movement, from page to page, poem to poem; from the interior to the external; from generation to generation of his native Mexico where 糖心传媒淵OU HAVE TO STAND ON YOUR TIPTOES AND KISS THE SUN ON THE MOUTH.糖心传媒� As bizarre as this may sound out of context (or, frankly, in context), savvy readers might see a connection to the celebrated eccentricities of Russian Futurist Vladimir Mayakovsky, who spoke, in poetry, to the sun, not to mention the supposedly genre-shaking Frank O糖心传媒橦ara, who riffed off of the Russians. Kyn Taniya is not consciously aligning himself with these writers (his work predates O糖心传媒橦ara糖心传媒檚) but his work is every bit as experimental as theirs, and often more touching. The contemporary avant-garde糖心传媒攖oo concerned with pushing boundaries糖心传媒攈as demonstrated a lack of concern with the tactile beauty of surrealism, but Kyn Taniya never loses physicality in his poems, even when they verge on the uncomfortable:

In the fields of dew
hours of happiness digress
and burning men lustfully fertilize
the lukewarm wombs of elastic virgins
that enjoy ecstatic contemplations of eternity

It is easy to see how generations have run with lines like these and used them as permission to discuss whatever they regard as shocking, though with the sole intent to shock. Kyn Taniya糖心传媒攑erhaps protected by his era糖心传媒攚as the poet as observer, turning his vision into something above common diction, something strange. These lines conjure everything written since then, all of the poor imitations that we糖心传媒檝e grown accustomed to, so much so that the most shocking thing a poet can do in the year 2016 is write a sonnet. But it would be wrong to look at a work like this糖心传媒攁 糖心传媒渃ult classic of the Mexican avant-garde糖心传媒� according to the back cover糖心传媒攖hrough the lens of current poetry. The avant-garde has too long being the sanctuary for facile experiments. But one can imagine Mexican readers, seduced by the surreal, responding to Radio in a way that feels alien to a contemporary audience. Radio has merits, which reside mostly in the play of language, though this linguistic somersaulting may not be appealing to jaded readers long done with Apollinaire and Breton.

While this is very debatable (close examination offers much to the attentive reader), the language is evocative and playful, never better than in the bonus work 糖心传媒淪tadium,糖心传媒� written 糖心传媒渋n anticipation of the 1928 Olympics in Amsterdam,糖心传媒� and the sensual, call-and-response poem, 糖心传媒淎ll of Her.糖心传媒� These poems alone should delight poetry readers regardless of their affiliations.

There糖心传媒檚 likely something missing in the Spanish-to-English translation, not to mention the time that has passed since Radio was written, but if one believes (as I do) that the reader糖心传媒檚 job is to find her way into the text, then issues regarding fidelity shouldn糖心传媒檛 be a concern. Kyn Taniya has done his job by providing puzzles, emotions, exaltations, and lamentations. Visit with them and you may find yourself somewhere in the jumble between his world and your own.

As always, you can post your thoughts and opinions about all of the RTWBC books in the comments section below, on Twitter using the hashtag #RTWBC, or at the

Anna Rosenwong’s Introduction

Anna’s introduction to Diorama might not put all readers at ease, but I think it’s worth quoting from here because it does provide a couple suggestions for how to approach the collection:

Translating Roc铆o Cer贸n’s Diorama was at first baffling. As an experienced translator and as a less than conventional poet myself, I know better than to seek clarity or narrative or concrete structure in experimental poetry. Nonetheless, it is precisely this sort of legibility that readers often demand of translated work, which can result in selection bias; difficult, experimental, or what Cole Swenson calls “immanent” poetry is often left untranslated in favor of the more familiar and legible. Diorama is not plainly legible. It is essentially impressionistic, stubbornly elusive, and at times outright hallucinatory.

To get closer to this book, I found I needed—and I urge the reader—to set aside notions of tractability and surrender to its associative and auditory insights. So much of reading and translating poetry is training your ear to the text’s private language, particularly in a text like this, where sound often provides the surest foothold amid the rush of cascading images. This emphasis on sound is demonstrated by Cer贸n’s enveloping, fierce live performances, and perceptive readers may find much to gain by putting the book down and trying the lines aloud for themselves, attentive not only to sound and rhythm but to the play and gripping of words in the mouth. In its repetitions, its incantations, its subtle and unexpected linguistic linkages, this is work that demands to be spoken and heard.

An Example

The book opens with “13 Ways to Inhabit a Corner,” which is made up of thirteen short pieces. (Obviously.) Here are two of them:

I

Ostriches in flight—there are women whose words are ash trees. Shadows stitch together harbors of air. In the midst of the stampede, a hand rests on the arc of a kneecap. Cigar and smoke. Rosy cypress sleep. The scent reaches far beyond the border. From the bureau—power, smile destroyed/ocher temptation, strophic enjambed body. Vestibule.

XII

Jubilation and adoration in parentheses. Above the long hair of that woman, seen in Baden-Baden, a galaxy hangs. No satellite rings. No saintly crown. Aftershock. Pealing bells (no ecclesiastical province) whisper a half-truth. White and cracked. The lips. We need a new password to get back to the world in time. While the word appears, she draws a spiral in the water. Resplendence.

Anna mentioned section “XII” in her intro stating, “To her translator, it appears that Diorama is Cer贸n’s attempt to find or forge that password.” Which is intriguing to me.

The Sounds of the Poems

Going back to Anna’s suggestion to listen to the poems, to read them aloud, here are two videos that give you a sense of what the poem sounds like.

And, even more interesting, here’s Roc铆o herself reading “Sonata Mandala to the Penumbra Bird” as part of the Maintenant Series at Poetry Parnassus.

The Author

Roc铆o Cer贸n is from Mexico City and her work combines poetry with music, performance, and video. In addition to Diorama (or DIORAMA? Sometimes it’s in all caps) she’s published Basalto, Imperio/Empire, and Tiento. Her poems have been translated into a number of languages, including Finnish, French, Swedish, and German.

Here’s an with her for Poetry Parnassus:

SJ Fowler: Mexican poetry has long been an immense and formidable tradition, reflecting so much of the passion and invention of Mexican culture itself. Octavio Paz is obviously a world-renowned figure, but I think his anthology of Mexican poetry, in conjunction with Samuel Beckett, really opened many eyes in the English-speaking world to the depth of the poetry historically in Mexico. Is this tradition ever present to contemporary poets?

Roc铆o Cer贸n: Mexican poets are children of their own traditions and customs, for better or worse. Young poets disdain their ancestors and they frequently succumb to them. I think this is only natural and I don’t think that this happens only in Mexican poetry. My generation does not live under the weight of Octavio Paz anymore. There is a chorus of voices and ways of looking at the world. The global era has played an important role in poetry; for example, by bringing together traditions as far as those of the Slavic world and the indigenous pre-Hispanic poetry. Using Internet these influences can dialogue and share their experience. Translation has become a great tool to re-signify different traditions and their poetic legacies.

SJF: Multi-disciplinary approaches to poetry seem very important to you, fusing the art form with music and art. How central is this to your work?

RC: I was raised in a family headed by my grandfather, who was a scientist, and my grandmother, who was an avid reader and storyteller. Contemporary art has nurtured my poetry. It has become an important influence in my writing and led me to something I call “expanded poetry” (the type of poetry that seeks a dialogue and allows for breaking borders between disciplines). Writing from many angles has been a natural process for me. I am interested in the kind of transversal poetry I call Galaxy Projects, meaning a fusion of language, music, action, video and the body.

It’s a really interesting interview—be sure and check out the whole thing! There’s also a short conversation with Roc铆o and Anna that World Literature Today shortly after Diorama won the Best Translated Book Award.

If all goes according to plan, we’ll run a short interview with her some time next week.

The Translator

Anna Rosenwong is a former judge of the Best Translated Book Award, and has a MFA from the University of Iowa and a PhD in Comparative Literature from the University of California, Irvine. She has also translated Jos茅 Eugenio S谩nchez’s Suite Prelude a/H1N1 and has published an original collection of poetry, By Way of Explanation.

And from this past ALTA conference, here’s a video of Anna and David Shook (publisher of Phoneme Media) talking about this translation and the editing process.

A Review

If you want another entryway to this collection, I’d recommend checking out that appeared in Entropy.

Yet for all its experimental or “immanent” and “stubbornly elusive” language as Rosenwong writes in her informative translator’s note, Cer贸n’s Diorama skillfully situates itself among longer poems from Latin America which use collage, kaleidoscopic experimentation and an all-observant eye to fly over the history and landscape of a country, people or epoch. Cer贸n麓s new collection commences with the micro, ants foraging for candy in a room, and then opens up to the macro in wider thrusts, addressing a “Pan-Latin American” exploration of “Silenced sun on the Rio Grande or the Amazon,” South America and the harrowing legacy of the Guarani and “Columbus on his knees in Hispaniola: the blindness of deer and the cunning need to procure prey: Malinche, the first American Babel.”

Hopefully by now you’re interested in reading Diorama and participating in this month’s RTWBC!

This is how translator David Shook begins his preface to Shiki Nagaoka: A Nose for Fiction. However, Nagaoka never existed; Shook is just going along with a joke which, according to a New York Times article, originated at a writer糖心传媒檚 conference years ago. When asked about his favorite writer, Bellatin answered that it was a Japanese author who had an unusually large nose and wrote a highly-influential novel in an untranslatable language. The audience members believed the Mexican writer, so Bellatin decided to write this 糖心传媒渂iography.糖心传媒�

Nagaoka糖心传媒檚 story begins with his birth, which was difficult because of his nose. The two midwives who assisted his mother thought his large appendage was a 糖心传媒減unishment糖心传媒� for his aristocratic family糖心传媒檚 糖心传媒渆xcessive enthusiasm that accompanied the arrival of foreign ideas.糖心传媒� At an early age, he wrote hundreds of stories (mostly about 糖心传媒渁ffairs related to the nose糖心传媒�) and later experimented with writing stories in multiple languages. Besides literature, Nagaoka was also interested in photography. His combined love of literature and photography later resulted in the book Photos and Words, which 糖心传媒渉eavily influenced糖心传媒� Juan Rulfo, the real-life writer of Pedro P谩ramo. However, his early investigations into photography resulted in an unsolved murder which, according to a 糖心传媒渃ertain Mexican writer,糖心传媒� is mentioned in the untranslatable novel.

Following that incident, Nagaoka joined a Buddhist monastery and lived there for 13 years. During this time, he attempted to write 糖心传媒渁 large novel糖心传媒� that was originally going to be a 糖心传媒渕asculine version糖心传媒� of Murasaki Shikibu糖心传媒檚 The Tale of Genji but somehow ended up being a Japanese version of Marcel Proust糖心传媒檚 In Search of Lost Time. At the same time, his nose became so big at one point that he needed someone to hold it up for him during meals. As if his troubles during mealtimes were not bad enough, the other monks, despite the rules of the novitiate, would taunt Nagaoka and play with his nose.

After being expelled from the monastery, Nagaoka set up a kiosk to sell rolls of film and develop them. One of his customers was a famous Japanese writer. Oddly enough, Nagaoka was not interested in this writer糖心传媒檚 works but rather in his photographs of bathrooms. These photographs inspired Nagaoka to compose 糖心传媒渉is most solid work,糖心传媒� Photos and Words, which was popular enough to be translated into English by LIFE magazine in the 1950s.

Still, despite the book糖心传媒檚 popularity, Nagaoka lived in a modest house and didn糖心传媒檛 take his writing career seriously, although he continued to write in notebooks, one of which had a giant nose on the cover. 糖心传媒淎t the end of his life,糖心传媒� the narrator writes, 糖心传媒渉e embraced the idea that, realistically, the size of his nose had determined his existence.糖心传媒� Some of these recorded memories appeared in a posthumous work called Posthumous Diary, which inspired a French cult-like group called the 糖心传媒淣agaokites糖心传媒� to further investigate his work. However, 糖心传媒渋n his final years, Shiki Nagaoka wrote a book that for many is fundamental. Unfortunately, it doesn糖心传媒檛 exist in any known language.糖心传媒�

Bellatin is obviously having a lot of fun telling this story, and he never tries to hide the fact that it糖心传媒檚 a prank. He also slyly pokes fun at the audience members who originally bought the story about Nagaoka. In one scene, while in a state of dementia, Nagaoka throws his manuscripts into a bonfire, which nearly destroyed a forest near the monastery. 糖心传媒淥nly the timely action of the rest of the monks, who were woken by Shiki Nagaoka糖心传媒檚 anguished screams, reduced its consequences to a circle of singed forest. On that occasion, Shiki Nagaoka lied. He said that the fire originated from the passion he had put into his prayers.糖心传媒� Later, the narrator informs us that at the time, the monks didn糖心传媒檛 question this.

Following the biographical portion of the book are 30 pages of photographs by Ximena Berecochea. While these photos appear in a section titled 糖心传媒淧hotograph Documentation of Shiki Nagaoka糖心传媒檚 Life,糖心传媒� most of them consist of objects and locations mentioned in the book. Only three of them contain the author, but they were either manipulated to hide his nose or taken from a distance. In fact, the funniest photo is Nagaoka糖心传媒檚 fifth grade graduation photo: Only a circle on the faded right side of the photo indicates Nagaoka糖心传媒檚 appearance in it.

While it may appear that Shiki Nagaoka is a joke that has gone on for far too long, it is actually worth reading, thanks to Bellatin糖心传媒檚 skill as a writer and prankster. Also, the actual text is only 43 pages, so that in one sitting you can also enjoy what the audience of the writer糖心传媒檚 conference heard (and believed) so many years ago.

Most people can appreciate high-quality writing with a good (literary) prank, and most people can appreciate a finely cultivated mustache. And when you have both, and it stems from these guys:

you obviously and absolutely cannot go wrong. Not much more needs to be said as an introduction for either Mexican author Mario Bellatin or translator David Shook, other than that both are incredibly accomplished, and another review of Bellatin’s work is here and David has the coolest mustache and reviewed for Three Percent before. So, without further ado, here is a bit of Chris’s review:

Nagaoka糖心传媒檚 story begins with his birth, which was difficult because of his nose. The two midwives who assisted his mother thought his large appendage was a 糖心传媒減unishment糖心传媒� for his aristocratic family糖心传媒檚 糖心传媒渆xcessive enthusiasm that accompanied the arrival of foreign ideas.糖心传媒� At an early age, he wrote hundreds of stories (mostly about 糖心传媒渁ffairs related to the nose糖心传媒�) and later experimented with writing stories in multiple languages. Besides literature, Nagaoka was also interested in photography. His combined love of literature and photography later resulted in the book Photos and Words, which 糖心传媒渉eavily influenced糖心传媒� Juan Rulfo, the real-life writer of Pedro P谩ramo. However, his early investigations into photography resulted in an unsolved murder which, according to a 糖心传媒渃ertain Mexican writer,糖心传媒� is mentioned in the untranslatable novel.

Following that incident, Nagaoka joined a Buddhist monastery and lived there for 13 years. During this time, he attempted to write 糖心传媒渁 large novel糖心传媒� that was originally going to be a 糖心传媒渕asculine version糖心传媒� of Murasaki Shikibu糖心传媒檚 The Tale of Genji but somehow ended up being a Japanese version of Marcel Proust糖心传媒檚 In Search of Lost Time. At the same time, his nose became so big at one point that he needed someone to hold it up for him during meals. As if his troubles during mealtimes were not bad enough, the other monks, despite the rules of the novitiate, would taunt Nagaoka and play with his nose.

After being expelled from the monastery, Nagaoka set up a kiosk to sell rolls of film and develop them. One of his customers was a famous Japanese writer. Oddly enough, Nagaoka was not interested in this writer糖心传媒檚 works but rather in his photographs of bathrooms. These photographs inspired Nagaoka to compose 糖心传媒渉is most solid work,糖心传媒� Photos and Words, which was popular enough to be translated into English by LIFE magazine in the 1950s.

For the rest of the review, go here.

I’ve been writing about endangered languages since 2007, when I co-wrote the headnote to World Literature Today’s Endangered Literatures issue, which sought to extend the defense of endangered languages by emphasizing the quality and diversity of their respective literatures. In short: the death of a language means the death of a literature, whether its skeleton is preserved (and rearranged) in the literary ossuaries of the academy or forgotten wholesale.

I began translating Isthmus Zapotec poet V铆ctor Ter谩n in early 2008, from an anthology of contemporary indigenous poets I picked up on one of my many trips through Oaxaca, where I had spent time in several Zapotec communities. That translation project resulted in a remarkable friendship, first stoked over mezcal-boiled plums in Oaxaca City and further strengthened by a three-week tour of the UK in 2010. Over the course of our relationship I found myself increasingly inspired糖心传媒攏ot just by V铆ctor’s poems, which often combine an erotic pastoralism with a sonic delight I aspired and struggled to replicate in my English-language translations, but by his activism, his vision to strengthen the Zapotec language and culture by the act of writing poetry.

His approach to the issue is pragmatic糖心传媒攈e has little influence on the political and economic hegemony of Spanish in Mexico, and he can糖心传媒檛 dictate educational policy. But he can糖心传媒攁nd does糖心传媒攊nspire Zapotec speakers, especially young ones, to value their literary heritage. Cultural pride is the primary reason that Zapotec parents continue to raise their kids in Zapotec, maintaining its lifeblood.

V铆ctor and his contemporaries糖心传媒攆ellow poets Natalia Toledo and Irma Pineda as well as artists like Demian Flores and Soid Pastrana糖心传媒攈ave inspired me to make a movie about their work, their literary activism. I糖心传媒檓 working with award-winning filmmaker Ben Rodkin, a close friend and regular collaborator whose films resonate with their own visual poetry. We need your support. to read the details of what we糖心传媒檙e planning, which includes the publication of poetry from five indigenous Mexican languages. I hope you糖心传媒檒l give if you can糖心传媒攁ny amount makes a difference. And I hope you糖心传媒檒l tell others about what V铆ctor is doing, and how we hope to document it.

David Shook is a poet and translator in Los Angeles. Recent translation projects include Roberto Bola帽o糖心传媒檚 1976 manifesto “Leave Everything, Again” (forthcoming in the Picador edition of The Savage Detectives), Mario Bellatin糖心传媒檚 Shiki Nagaoka, and Kilometer Zero, an illicitly filmed documentary about tortured Equato-Guinean poet Marcelo Ensema Nsang.

from on .

What kind of human voice is on the other side of the urinal?
Are people happier, more timeless there, fish Fa?
Or there is no other side,

Only the visions of drunks, tensed in fear
That you don糖心传媒檛 close your thirsty mouth, Faronika,
As fair punishment for grinding your yellowed teeth.

And castrate us.

That complex layering, which combines metaphor and mythology糖心传媒擣aronika is a mythical fish from Slovenian folk songs糖心传媒攚ith the physical and contemporary糖心传媒擣a is a popular brand of bathroom soap糖心传媒攊s characteristic of Steger糖心传媒檚 poems. In his preface Henry notes that 艩teger糖心传媒檚 use of couplets, tercets, and quatrains represents a notable departure from his freer first three collections. Their faux formality is a perfect medium for that layering.

Henry has done well to replicate the tone and sound play of the Slovenian originals, as in 糖心传媒淢int,糖心传媒� here in its entirety:

Mintafiction, minthane, mintabolism.
There the smell of mint grows out of bone,
Out of s neighbor糖心传媒檚 thumb and a stranger糖心传媒檚 shin.
No animal could do it, it糖心传媒檚 not worth repeating.

Mintatax, mintasound, mintaphysics.
For what stays, when only plants try
To heal a musician糖心传媒檚 rib and the mayor糖心传媒檚 skull.
No laxative could do it, it糖心传媒檚 not worth mentioning.

Even less who will remember, cannot forget.
Endless fields of mint, ruts, indifference.
Mintamen. Mintanight. Mintanaught.
No dictionary could do it, it糖心传媒檚 not worth noting.

艩teger糖心传媒檚 frequent mention of bones and stones remind me of Vasko Popa糖心传媒檚 The Star Wizard糖心传媒檚 Legacy, in the late Morton Marcus糖心传媒� last translation, but 艩teger糖心传媒檚 Things achieve a greater density with their descriptive imagery. The wordplay 艩teger employs to build novel mint-abstractions exemplifies his dry, observant humor. Elsewhere in the book he employs darker imagery to similar effect, as in 糖心传媒淐oat,糖心传媒� which begins:

Do you remember the archivist who committed suicide
Because of one misplaced sheet?
The three librarians who never returned from the warehouse?

The history students who bit the professor糖心传媒檚 neck in an exam
Because he could not remember the price of potato soup in May 1889?
The parrot who endlessly shouted Stalingrad, sexual revolution, self-
reliance?

糖心传媒淐oat糖心传媒� exemplifies 艩teger糖心传媒檚 greatest achievement with The Book of Things, the subtle development of the lexicographer糖心传媒檚 pathos, the impossibility of objectivity. It糖心传媒檚 one of the best collections of poetry in translation in recent memory, a Balkanized encyclopedia of things carefully examined.

David Shook review this for us. He’s a poet and translator in Los Angeles, where he edits the online broadside. (More on Molossus in the near future.) Current translation projects include work by Mario Bellatin, Tedi L贸pez Mills, and several other Mexican poets, as well as a portfolio of poems from Equatorial Guinea.

Here’s the opening of his review:

The Book of Things, published in Slovenian in 2005, is Ale拧 艩teger糖心传媒檚 fourth book of poetry in ten years, beginning with his Chessboards of Hours, published in 1995 when he was 22. Despite his many international awards, including the 2007 Ro啪an膷eva Award for best book of essays written in Slovenian, TBOT is his first collection to be translated into English. Translator Brian Henry, best known for his translation of Toma啪 艩alamun糖心传媒檚 Woods and Chalices, praises 糖心传媒渢he philosophical and lyrical sophistication of [艩teger糖心传媒檚] poems,糖心传媒� and has achieved that same sophistication in translation. The book is structured in seven chapters of seven poems each, following the strange preface 糖心传媒淎,糖心传媒� which Henry calls a 糖心传媒減roem糖心传媒� though it is written in verse. The other forty-nine poems are titled after things with no obvious connection to each other, from the first poem 糖心传媒淓gg糖心传媒� to the last poem 糖心传媒淐andle,糖心传媒� with stops as varied as 糖心传媒淪trobe Light糖心传媒� and 糖心传媒淐ocker Spaniel.糖心传媒� The first set of seven is completed with 糖心传媒淜nots,糖心传媒� 糖心传媒淪tone,糖心传媒� 糖心传媒淕rater,糖心传媒� 糖心传媒淐at,糖心传媒� 糖心传媒淪ausage,糖心传媒� and 糖心传媒淯rinal,糖心传媒� the last of which completes its well-developed imagery of the urinal as the mouth of a fish embedded in a restroom wall with a haunting testicular threat:

“What kind of human voice is on the other side of the urinal?
Are people happier, more timeless there, fish Fa?
Or there is no other side,

Only the visions of drunks, tensed in fear
That you don糖心传媒檛 close your thirsty mouth, Faronika,
As fair punishment for grinding your yellowed teeth.

And castrate us.”

Click here to read the review in its entirety.