MILADIS HERNÁNDEZ ACOSTA

MILADIS HERNÁNDEZ ACOSTA

Nigeria / Killing Of Christians

It will be necessary to look for the skins or the ground - blackened-

No boilers that offer the juice - reckless-

So that hunger or crime does not occupy reason.

It will have to be adjusted. Assimilating is a reckless act

Like the boiling broth inside the splendid iron

Without a new -existence- sprouting

Progressive substance to get up

Or give up when I already did

Before the fire caught and the tallow came out

Of Christians who prayed.

I am just him who goes out of his way or looks elsewhere

What no market offers.

We will have to go back to the deep grotto

Avoid a schism without anything being taken by forces.

Dismiss the effects of that tasteless blade

With a strange flavor that I find at the bottom of a cistern.

We will have to get out of the hole or the dew

Seda like the cloud unravels

Without absorbing water

That it is not insular nor does it serve only believers.

I'm not the one who gets solace

I just don't know where the most fertile grass is obtained

Not a plain for the snow

Nor that joy that I never had in my arteries.

What is in question the natural state of a man who survives

To track food. Leftover ounces that go

By the river or by the way of the waves

Towards that tent of servants

Where we are all in warlike marches

Or another form of resentment

Against the pavement or the counterweight of those hearts

End-of-century garlic or Nigerian liver mass

Like loaves cut on the scale.

There is a manly bone inside the table and some onions.

I find that cotton around the merchants.

Coffee. Aspirins. Peanut – roasted-

Remains of the flavor that the famine cooks. Meat - live - bouncing

Brutal cracks or fishing for mortuary things.

How to restart with those rays of sun that age my face?

How to replace a sheep's head hanging on a hook

Filtering your last tear?

Sheep's head that we bury in the ground when we believe

That thus - we add - that

That after having given - everything -

Powder-wheat- or bait for the prayers

They have betrayed us.

Miladis Hernández Acosta.

From The Book: The Fog Of Paradise.

 

Global Depreciation

Nature is smart, say ecologists.

I contort in the basement -secularized-

Not to say transformed by the weight of few

Movements of men and women - lying down -

On a street as a form of barricades

With broken boilers without stirring the stars

Nor to the parrot that speaks or strikes from its cage

Men's tightness or discount

With yellow vests stoning the windows

For all the hard work or the planet hurts

That it was not and will not be a space -full-

With new tortures in the pit.

I remember other wars

With sun shields and military tactics

Of Roman soldiers who built roads

To cross to the other side to make great conquests.

It is thought like dogs that resist without sweating

With missiles or other weapons to overcome tensions

What we do not know we soften

Ancient and rebellious

Within fences that we occupy. Squares -right-

That we invade when trains pass

We release pigeons to exercise the peace that we dream

Seizure of the Lead Soldier

Crushed by the car-icebreaker-

Ways to start what we have built with cards or suspicion.

I never built anything, and I built everything

I bought contraband materials and those irons

With which the crosses melt

Inside a graveyard with halter or racks

To be buried by low levels of impurity.

My Canarian grandfather was sold as we sell identities.

I've cried over niches of broken blocks with white limestones

Other bones I saw on my feet

I can map the holes. Enter the basement

Feeling like I am a laser that gets through

Between the tombstones, my dead and the reflection.

Hovering laser as survival bias

Subaltern mass. Break or impulse

To skate on the ice. Pity me

For not finding the ultimate meaning of existence or of running away

From Syria to Patagonia. From Sweden to Jerusalem.

I can feel like Kurdish or Cuban. Wolf or ostrich?

False forest or swamp to believe I am going to die

When glaciers are dissected.

That I will be a remnant of the dead that never equals

Within an atomic base. A laboratory. Center

To sacrifice the hare or my face in a lake without flowers.

Desiccation that is not from the earth

If not, the dead they feel to fry

It comes out a glorious paste

Which we then use as bricks.

Miladis Hernández Acosta. Guantanamo. Cuba

From The Book: The Fog Of Paradise.

Afghanistan / Closing Ceremony

I

Noise in the system or a puddle of cloudy tar in my head?

Who adds the vetoes - conventions -? The law or the dream

Who says there is nothing to hide? Lay off

Barbarism is reproduced on the canvas

Rifle or de-generative fire. Broken mirrors

Beasts or vassals enter the region without restraint.

Soak me up on the rug with silks you love.

Before the butterflies scare the torpedo boats

Indigo Forest You Never Get Out Of

Images captured by enemy radar

Waves coming out to take control.

Lethal metamorphosis. Light radiation. Extradition

From the possessed psalmist with epic encephalogram

Detained by waters - extraterritorial -.

What is going up like foam?

Is it the fresh lion barley on the carpet?

Outside the explicit fence. Of the substrates -civiles-

Without idyllic ceremonies. Alien magnets for danger

Without the water running through the tunnels or outside the walls.

Well in vigil with reprobate enamel

To deny the traps

Or the dull rawness of explosives.

Tear gas dates

They light the dead in a dark program.

II

Draw a dissertation on winter on the island

To extend the wars -invicts-

I have also done terrible things.

I've also seen the darkest day

The boat smooth and I have made my contortions.

Put me down like a martyr with those pulls

To become real or less –deprecative-

Point the blue of the oil towards my eyes

That burns in the pit or in the corridors.

Explode the walls with buoyant flare.

Am I the candle that appeals to its closure

Or the bird that encysts its benevolence?

Do me a humanitarian job. Put the helmet on

Intervene when antelopes die.

Intervene when the thorns fall

Antagonistic attacks or slight acts of martyrdom.

What happens if bullets come out or I'm hurt

Or the blood that replaces the corpses. Do me a double

Kidnap me in the headpiece. Test me.

Skirt the targets on the plane to trample just something like this

To escape the routine or be less traumatic

Human ben as an application. A fuzzy stable

An expired crater. A secret weapon or a divided people.

III

What are the black days of that derogatory winter?

What are the squalid threats?

How Parliament operates. The cocky monarch

Or the sweet face of the commons.

Whose udder is it? To be or not to be a bird of prey

High human betrayal?

Weather out for the wolf to glow.

How to wear cotton? The weapon over the folds?

Whose machine gun is it?

The luxurious cruise ship or the rubber that burns in the landfill?

Do not mix things up in that cistern

Drain the tumor at dawn.

Who offers the sprays and is it deteriorating?

Who offers a lunch or arrives first?

Life sucks. Before you die.

Come and bring me a sleeping pill.

A mask of death

Or the naked montage of the living.

Each one is a ringleader.

Each one is a lure.

Each one escapes or survives.

Each one is a dead man gone up in the clouds.

Miladis Hernández Acosta. Guantanamo. Cuba

From The Book: The Fog Of Paradise.

MILADIS HERNÁNDEZ ACOSTA

MILADIS HERNÁNDEZ ACOSTA: She was born in Guantánamo, Cuba on January 7, 1968. Poet, editor, critic and essayist. Miladis Hernández Acosta (Guantánamo, Cuba, 1968). Poet, editor, critic and essayist. Graduated in History from the Universidad de Oriente. She has published the essay: Las Náufragas Porfías (Ediciones Loynaz, Pinar del Río, 2016). The poetry books: After the fall. (Second edition. Ed, Primigenios, Miami, 2020) and La sombra que pasa. Second edition. (Ed. Primigenios. Miami, 2020); Memories of the abyss, second edition (Ed. Primigenios, Miami, 2020); The fire of the angel (Editorial ZWeibook, Chile, 2020), South of the moors, second edition (Ed. The sea and the mountain. Guantánamo, Cuba, 2020); Los imponderables reinos, second edition (Ed. Primigenios. Miami, 2020); Neighbor's Book. Second edition (Ed. Primigenios. Miami. 2020); The Isla Preterida (Ed. Primigenios. Miami. 2019); The imponderable kingdoms, (Ed. Extramuros, 2014, Cuba); After the fall, (Ed. Oriente, 2014, Cuba); Diary of a Pariah (1994) and The Mockery of the Void (1995), both by Ed. Oriente; The edges of the mud (2000 and 2009) and Memories of the abyss (2004), by Ed. El Mar y la Montaña; The incantation of the runes (Ediciones Ávila, 2004); Psalms for boredom (Ediciones Vitral, Obispado Pinar del Río, 2005); Book of neighbors (UNIÓN Editions, Havana City, 2010); The armed invincible sadness (Editions Ácana, Camagüey, 2009) and The shadow that passes (Ed. Letras Cubanas, Havana, 2010). As an anthologist, she has published Harold Hart Crane, The Divergent, Compilation and Prologue, Miladis Hernández Acosta. Ed Ático, Holguín, 2015, Cuba. La Uncertain Surface, Poetic Anthology of Francisco Muñoz Soler. Spain. Compilation, foreword and edition by Miladis Hernández Acosta. South Project. Union editions. Cuba, 2012. Rivers of heads, Roberto Bianchi's Poetic Anthology. Compilation, edition and Prologue by Miladis Hernández Acosta. South Project. Ediciones Unión, Havana, Cuba, and Ediciones Abrace, Montevideo, Uruguay, 2013 and in the editorial process: The Recovered Fire: Contemporary Cuban and Venezuelan Women. Ed. Giraluna. Venezuela. Her works have been included in Cuban and foreign anthologies such as Anuario UNEAC (Ediciones UNIÓN, Havana City, 1994), Current Cuban Poets (se, Venezuela, 1995), Bilingual Brothers (se, Salvador de Bahía, Brazil, 1996), Poetic Village (Ed. Ópera Prima, Madrid, Spain, 1997), Woman Inside (Ed. Oriente, Santiago de Cuba, 2000), The Parks (Mecenas and Reina del Mar Editores, Cienfuegos, 2001), Silvio: I owe you this song (Ediciones Santiago, Santiago de Cuba, 2004), Anthology of cosmic poetry by Miladis Hernández Acosta, by Fredo Arias de la Canal (Ed. Frente de Affirmation Hispanista, Mexico, 2002) and Anthology of Cuban cosmic poetry (Ed. Frente de Afirmation Hispanista, México, 2000), Encuentros, on the poetic work of Dulce María Loynaz, Ediciones Loynaz, 2012, Pinar del Río, Cuba, From when the Zambrana was Luisa Pérez Montes de Oca (Ediciones Santiago, 2012), Poetry Cuban, XXI century. Fernando Sabino. Miami. 2012. Powerful yellow pianos, Cuban poems to Gastón Baquero, Ediciones La Luz, Holguín, 2013. Mirrors of the word. Ed. Abrace, Uruguay 2014. The invertebrate island. Ed Capiro, 2019. I grow a White Rose, Ed Giraluna. Venezuela, 2019. Ebook: Ana Frank. Great Nations Library. Spain, 2019. Ebook: Alejandra Pizarnik. library