poetry photo : frank smout 12 worldliteraturetoday.org Chikome Xochitl A Poem in Seven Parts Juan Hernández Ramírez Translators’ Note J uan Hernández Ramírez describes both Nahuatl and Spanish as mirrors for his writing: “sirven de espejo, kewak se teskatl.” He does not write solely in one language, but rather both Nahuatl and Spanish perform together to create the pastiche of images in his poetry. The title of his book is indicative of this, as Juan writes Chikome Xochitl as two words, which correspond syntactically with the Spanish “Siete Flor” (Seven Flower). In Nahuatl it is more common to write this as one word, Chikomexochitl. This mutual influence between exceptionally distinct languages poses unique challenges to (or, better stated, adventures in) translation, as the translator must sift through distinct versions of the poems in each language. For example, in the very first lines, the Nahuatl states Makuilxochitl kipatlaua imamal (Makuilxochitl spreads out her load on the ground) and in Spanish Su manto extiende Macuilxochitl (Macuilxochitl extends her shawl). The meaning in Nahuatl conveys imagery related to the loads of corn carried in maize ceremonies and laid out in offerings, whereas the version in Spanish paints the image of a sacred woman unraveling and extending her shawl to show her beauty. Informed by both meanings, we translated this as “Makuilxochitl unloads her shawl.” These rich distinctions add to the challenges already posed by any translation, especially in attempting to translate references to concepts and contexts unfamiliar in English. The translations that follow were completed in very close collaboration with Juan Hernández Ramírez. With his sensitive ear to rhythm and cadence, the author personally recommended changes to achieve the desired musicality. He agreed with us that “Corn Spike Flower” was aesthetically unappealing in English and opted for “Maize Flower” as the corresponding title translation for Miauaxochitl . Interestingly, he also added that this dissonance was indicative of a more remote relationship of English speakers with the corn crop. As he went on to describe, English lacks the xochitlajtoli (literally “flowery language” or also “maize language,” as corn is the paramount flower in Nahuatl) to describe each stage in the cultivation of life’s principal sustenance with the aesthetic force and reverence that Nahuatl achieves. Along with the author, we hope that this translation helps bridge that gap and gives a sense of that veneration for this sacred crop and in turn for the entire earth. Editorial note: Visit the WLT website to watch a video of Juan Hernández Ramírez reading these poems, first in Nahuatl and then in Spanish. Audio recordings of the author reading these poems can also be found there; the sounds in the background are birds, which he often alludes to in his poetry. January–February 2014 • 13 Maize Flower 1 Tender green corn upon the great sea. Makuilxochitl unloads her shawl. The barbed corn blooms. Gilded sand flower. The house of dew is dressed with flowers. Only hymns and holy melodies. 2 The sun’s hair flames over the body of maize. Xilonen has blossomed. The small-grained flame has sprung. Flower of fire our tender flesh. House of precious flowers. 3 Red, black, white, yellow the hues of her skin. Choice kernel of corn. Centeotl adorns her head with flowers. The blossoming maize flower sings. The jaded hummingbird, drunken with flowers. The Essential Context of Chikome Xochitl T he title Chikome Xochitl (Seven Flower) is a direct reference to the corn deity. Huastecan ceremonies represent Chikomexochitl with two sacred figures, a boy and a girl, each made from three to four cornhusks bound together and dressed in traditional clothing. Xilonen is xilotl (in Spanish jilote or “green spike of maize”) and refers to when the kernels of Chikomexochitl are soft and just beginning to bud. Xilonen also constitutes a pre-Columbian reference to the feminine side of Cinteotl (“maize god,” also spelled Centeotl). In the fifth poem, Xochiquetzal (“flowery quetzal bird” or “flowery preciousness”) is a pre-Columbian allusion to the patron goddess of the arts and complements the flowery images to describe corn. The house of flowers, xochikali, is an actual Huastecan sanctuary that receives Chikomexochitl ceremonies. Among other meanings...