Using both lyrical and narrative forms, these concise verses explore a family history set against the larger backdrop of Mexican history, immigration, and landscapes of the Southwest. The poet’s delicate touch lends these poems an organic quality that allows her to address both the personal and the political with equal grace. Straightforward without being simplistic or reductive, these poems manage to be intimate without seeming self-important.
This distinctive collection ranges from the frighteningly whimsical image of Cortés dancing gleefully around a cannon to the haunting and poignant discovery of a dead refugee boy seemingly buried within the poet herself. The blending of styles works to blur the lines between subjects, creating a textured narrative full of both imagination and nuance.
Ultimately, Empire situates individual experience in the wider social context, highlighting the power of poetry as song, performance, testimony, and witness. Addressing themes such as war, family, poverty, gender, race, and migration, Candelaria gives us a dialogue between historical and personal narratives, as well as discreet “conversations” between content and form.
This distinctive collection ranges from the frighteningly whimsical image of Cortés dancing gleefully around a cannon to the haunting and poignant discovery of a dead refugee boy seemingly buried within the poet herself. The blending of styles works to blur the lines between subjects, creating a textured narrative full of both imagination and nuance.
Ultimately, Empire situates individual experience in the wider social context, highlighting the power of poetry as song, performance, testimony, and witness. Addressing themes such as war, family, poverty, gender, race, and migration, Candelaria gives us a dialogue between historical and personal narratives, as well as discreet “conversations” between content and form.
Xochiquetzal Candelaria has had her work published in The Nation, The New England Review, Gulf Coast, The Seneca Review, and other magazines and journals. She holds degrees from the University of California, Berkeley, and New York University and has received multiple fellowships, including those from the Bread Loaf Writers’ Conference and the National Endowment for the Arts. She teaches at San Francisco City College.
Mexico, 1910
Migration
Primavera
Cortés and Cannon
Many Years After
Empire #1: Five and Dime Store, 1949
A Daughter
Parade
1973
Caught in the Eye of the Sun
Empire #2: Poet
Although You Can Take It—
A Question
II
Esta Palabra
Sappho
The Report
On Language
Between the House and the Hill
Boom
The Message
Empire #3: Marriage
Core Greater Than Three Solar Masses
The Irises
Blue Alert
The Novitiate
Leda Explains
Christmas, 1964
Here We Are
After Sex
III
Chimayo, New Mexico
Quixote
The Only Thing I Imagine Luz Villa Admires about Her Husband’s Gun—
The Loudspeaker
Empire #4: Mirror
Ode to Water
Portrait of a Voice
Scree
Memory from a Bone Sample
Missing Mariachi
Combustion
The Wild Pink
After the Death of Pancho Villa
The Last Line
Acknowledgments