Martín Espada

The heart of this collection is a cycle of Chile poems by "the Pablo Neruda of North American authors" (Sandra Cisneros). In his eighth collection of poems, Martin Espada celebrates the power of poetry itself. The Republic of Poetry is a place of odes and elegies, collective memory and hidden history, miraculous happenings and redemptive justice. Here poets return from the dead, visit in dreams, even rent a helicopter to drop poems on bookmarks.

The Republic of Poetry

"With this fine new collection," says Library Journal, MartÃ­n Espada "joins the top ranks of poets anywhere"; in the words of Earl Shorris, he is "well on his way to becoming the Latino poet of his generation."

Poems

City of Coughing and Dead Radiators

Essays from a nationally acclaimed Latino poet

Essays and Commentaries

The Lover of a Subversive is Also a Subversive

Poetry. Latino/Latina Studies. This volume combines the poems from Espada's critically acclaimed collection of poetry TRUMPETS FROM THE ISLANDS OF THEIR EVICTION with a selection of poems from his first book, The Immigrant Iceboy's Bolero, which is now out of print. Espada's work is characterized by its intensity, its sincerity, and its insight into the lives of diverse characters. Influenced by his Puerto Rican background, Espada gives a distinctive voice to his community. "Martin Espada defines political poetry for the turn of the century"--The Nation.

Trumpets from the Islands of Their Eviction

"Martín Espada ....forges a new poetic language."—Dennis Loy Johnson, Pittsburgh Tribune In his sixth collection, American Book Award winner Martín Espada has created a poetic mural. There are conquerors, slaves, and rebels from Caribbean history; the "Mayan astronomer" calmly smoking a cigarette in the middle of a New York tenement fire; a nun staging a White House vigil to protest her torture; a man on death row mourning the loss of his books; and even Carmen Miranda.

A Mayan Astronomer in Hell's Kitchen: Poems

“[An] important work . . . inspiring its readers to greater human connection and to keep fighting the good fight.”—The Rumpus In this new collection of poems, Martín Espada crosses the borderlands of epiphany and blasphemy: from a pilgrimage to the tomb of Frederick Douglass to an encounter with the swimming pool at a center of torture and execution in Chile, from the adolescent discovery of poet Omar Khayyám to the death of an "illegal" Mexican immigrant. from "The Trouble Ball" On my father's island, there were hurricanes and tuberculosis, dissidents in jail and baseball. The loudspeakers boomed: Satchel Paige pitching for the Brujos of Guayama. From the Negro Leagues he brought the gifts of Baltasar the King; from a bench on the plaza he told the secrets of a thousand pitches: The Trouble Ball, The Triple Curve, The Bat Dodger, The Midnight Creeper, The Slow Gin Fizz, The Thoughtful Stuff. Pancho Coímbre hit rainmakers for the Leones of Ponce; Satchel sat the outfielders in the grass to play poker, windmilled three pitches to the plate, and Pancho spun around three times. He couldn't hit The Trouble Ball.

The Trouble Ball: Poems

Offering both a twenty-year retrospective and seventeen new poetic works, this anthology by the Latino poet explores the essence of the American political imagination and the resilience of human dignity.

New and Selected Poems, 1982-2002

Alabanza

Award-winning poet Martín Espada gives voice to the spirit of endurance in the face of loss. In this powerful new collection of poems, Martín Espada articulates the transcendent vision of another, possible world. He invokes the words of Whitman in “Vivas to Those Who Have Failed,” a cycle of sonnets about the Paterson Silk Strike and the immigrant laborers who envisioned an eight-hour workday. At the heart of this volume is a series of ten poems about the death of the poet’s father. “El Moriviví” uses the metaphor of a plant that grows in Puerto Rico to celebrate the many lives of Frank Espada, community organizer, civil rights activist, and documentary photographer, from a jailhouse in Mississippi to the streets of Brooklyn. The son lyrically imagines his father’s return to a bay in Puerto Rico: “May the water glow blue as a hyacinth in your hands.” Other poems confront collective grief in the wake of the killings at the Sandy Hook Elementary School and police violence against people of color: “Heal the Cracks in the Bell of the World” urges us to “melt the bullets into bells.” Yet the poet also revels in the absurd, recalling his dubious career as a Shakespearean “actor,” finding madness and tenderness in the crowd at Fenway Park. In exquisitely wrought images, Espada’s poems show us the faces of Whitman’s “numberless unknown heroes.”

Vivas to Those Who Have Failed: Poems

"We now live in the "Age of Trump," whether we wish to admit it or not. The backlash represented by 45 is not only political, but cultural and linguistic as well. Because Trump and his ilk divorce language from meaning, we now live in an age of hyper-euphemism, where "alt-right" refers to what everyone, even apologists, once called "white supremacy." However, as What Saves Us editor Martin Espada observes, poets have a particular gift for reconciling language and meaning, for calling things and people by their right names, for restoring the blood to words. Furthermore, poets are well qualified to document this historical moment--and the more astonishing the moment, the more surreal or ominous, the more we need poets to capture that moment in a few brushstrokes of language. The poems collected in this volume, nevertheless, are not limited to works aimed at Trump, or poems written in the wake of his election. They're not narrowly "political," nor are they all well-written rants. Instead, these poems embody or express a sense of empathy or outrage in the Age of Trump, both prior to and following his election, since it is empathy the president lacks and outrage he provokes as a result. In the tradition of an earlier Curbstone Press volume edited by Espada, Poetry Like Bread: Poets of the Political Imagination (2000), these poems speak from the heart of the communities most gravely endangered in our times, or on behalf of these communities. These poems assert our common humanity in the face of dehumanization"--Provided by publisher.

Poems of Empathy and Outrage in the Age of Trump

What Saves Us

Camilo Pérez-Bustillo

In his masterful bilingual collection Rebellion Is the Circle of a Lover's Hands/Rebelión es el giro de manos del amante, acclaimed, award-winning poet Martín Espada explores and illuminates what it means to be Puerto Rican in the United States today.

Rebellion Is the Circle of a Lover's Hands / Rebelión es el giro de manos del amante

Crucifixion in the Plaza de Armas is a collection that contemplates the meanings of the sword for conquerors and rebels over the centuries.

Crucifixion in the Plaza De Armas

Among the poets are former farm workers and gang members, a practicing physician, an ex-tenant lawyer, two professional chefs, and a Vietnam veteran. One poet was a political prisoner for six years; another staged a famous hunger strike; still another was indicted for her work with Central American refugees. In many ways this collection of poets comprises a chorus. Their song humanizes in the face of dehumanization.

A Chorus of Latino and Latina Poetry

El Coro

A collection of poems touches subjects ranging from childhood memories, and experiences at work, to poems that examine political persecution

Imagine the Angels of Bread

Víctor Jara

Selected lyrics, in Spanish and English, of Chilean singer and folk hero Victor Jara.

Selected Lyrics of Víctor Jara

His Hands Were Gentle

The Immigrant Iceboy's Bolero

"An astonishing collection of political poetry at its finest."—The Progressive, Favorite Books of 2004 Alabanza is a twenty-year collection charting the emergence of Martín Espada as the preeminent Latino lyric voice of his generation. "Alabanza" means "praise" in Spanish, and Espada praises the people Whitman called "them the others are down upon": the African slaves who brought their music to Puerto Rico; a prison inmate provoking brawls so he could write poetry in solitary confinement; a janitor and his solitary strike; Espada's own father, who was jailed in Mississippi for refusing to go to the back of the bus. The poet bears witness to death and rebirth at the ruins of a famine village in Ireland, a town plaza in México welcoming a march of Zapatista rebels, and the courtroom where he worked as a tenant lawyer. The title poem pays homage to the immigrant food-service workers who lost their lives in the attack on the World Trade Center. From the earliest out-of-print work to the seventeen new poems included here, Espada celebrates the American political imagination and the resilience of human dignity. Alabanza is the epic vision of a writer who, in the words of Russell Banks, "is one of the handful of American poets who are forging a new American language, one that tells the unwritten history of the continent, speaks truth to power, and sings songs of selves we can no longer silence." An American Library Association Notable Book of 2003 and a 2003 New York Public Library Book to Remember. "To read this work is to be struck breathless, and surely, to come away changed."—Barbara Kingsolver "Martín Espada is the Pablo Neruda of North American authors. If it was up to me, I'd select him as the Poet Laureate of the United States."—Sandra Cisneros "With these new and selected poems, you can grasp how powerful a poet Espada is—his range, his compassion, his astonishing images, his sense of history, his knowledge of the lives on the underbelly of cities, his bright anger, his tenderness, his humor. "—Marge Piercy "Espada's poems are not just clarion calls to the heart and conscience, but also wonderfully crafted gems."—Julia Alvarez "A passionate, readable poetry that makes [Espada] arguably the most important 'minority' U.S. poet since Langston Hughes."—Booklist"Neruda is dead, but if Alabanza is any clue, his ghost lives through a poet named Martín Espada."—San Francisco Chronicle

Alabanza: New and Selected Poems 1982-2002

The ferocious acumen with which the award-winning poet Martín Espada attacks issues of social injustice in Zapata’s Disciple makes it no surprise that the book has been the subject of bans in both Arizona and Texas, targeted for its presence in the Mexican American Studies curriculum of Tucson’s schools and for its potential to incite a riot among Texas prison populations. This new edition of Zapata’s Disciple, which won the 1999 Independent Publisher Book Award for Essay / Creative Nonfiction, opens with an introduction in which the author chronicles this history of censorship and continues his lifelong fight for freedom of expression. A dozen of Espada’s poems, tender and wry as they are powerful, interweave with essays that address the denigration of the Spanish language by American cultural arbiters, castigate Nike for the exploitation of its workers, reflect upon National Public Radio’s censorship of Espada’s poem about Mumia Abu- Jamal, and more. Zapata’s Disciple is a potent assault on the continued marginalization of Latinos and other poor and working-class citizens in American society, and the collection breathes with a revolutionary zeal that is as relevant now as when it was first published.

Essays

Zapata's Disciple

From the winner of the Ruth Lilly Poetry Prize come masterfully crafted narratives of protest, grief and love. Martín Espada is a poet who "stirs in us an undeniable social consciousness," says Richard Blanco. Floaters offers exuberant odes and defiant elegies, songs of protest and songs of love from one of the essential voices in American poetry. Floaters takes its title from a term used by certain Border Patrol agents to describe migrants who drown trying to cross over. The title poem responds to the viral photograph of Óscar and Valeria, a Salvadoran father and daughter who drowned in the Río Grande, and allegations posted in the "I’m 10-15" Border Patrol Facebook group that the photo was faked. Espada bears eloquent witness to confrontations with anti-immigrant bigotry as a tenant lawyer years ago, and now sings the praises of Central American adolescents kicking soccer balls over a barbed wire fence in an internment camp founded on that same bigotry. He also knows that times of hate call for poems of love—even in the voice of a cantankerous Galápagos tortoise. The collection ranges from historical epic to achingly personal lyrics about growing up, the baseball that drops from the sky and smacks Espada in the eye as he contemplates a girl’s gently racist question. Whether celebrating the visionaries—the fallen dreamers, rebels and poets—or condemning the outrageous governmental neglect of his father’s Puerto Rico in the wake of Hurricane María, Espada invokes ferocious, incandescent spirits.

Floaters: Poems

Winner of the 1999 Independent Publisher Book Award for Creative Non-fiction/Memoir in the US'In this book, full of Martin Espada's intelligence and heart, poetry emerges as passionate artistic practice, and essays as acts of tough-minded engagement.' Adrienne RichIn his first collection of essays, award-winning poet Martin Espada turns his fierce critical eye toward a broad range of urgent political and cultural issues. With the same insight and integrity displayed in his poetry, Espada chronicles many struggles of the Latino community: the backlash against Latino immigrants and the Spanish language, the borders of racism, and U.S. colonialism in Puerto Rico.

Espanda's poems range from his childhood in Brooklyn to Puerto Rico and the struggle of Latinos in the United States.

Martín Espada

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