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José Felipe Alvergue
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Copyright © 2023 by José Felipe Alvergue. Originally published in Poem-a-Day on June 28, 2023, by the Academy of American Poets.

José Felipe Alvergue
Photo credit: Andrea Paulseth
José Felipe Alvergue is a Salvadoran poet and the author of scenery: a lyric (Fordham University Press, 2020), among other titles.
About José Felipe Alvergue
Themes
America
Ancestry
Audio
Existential
Memories
Mothers
Past
Spanish
Time
About this Poem

“In diaspora, one internalizes stories of a shared past in empowering and distressful ways. We exhaust our relationships struggling to perform health while anxious, depressed, and traumatized. I wrote this poem while thinking of my parents—my mother specifically. We left El Salvador under tragic circumstances, and yet here is this photo of valence, utter joy. I wanted to see how the American sonnet could be used to capture the complexity of a situation where the atomistic narrative of an individual’s responsibility to ‘get over’ pain meets the postnational context of a prolonged, transgenerational entanglement with exceptionalism, structural violence, and storytelling.”

—José Felipe Alvergue

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Looking at Photos

translated from the Spanish by John Keene

Dagmaris walking away on the beach.
Asunción, her fan, her trim do.
Gloria two days before dying.
Roberto, pointing to nothing.
Idermis behind Oscar, after Jorge.

Jesús Cos Causse
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The Photograph Suggests a Hidden Life

Past Storrow Drive, over the Mystic
River Bridge, my father lived in Chelsea—

home to Katz’s two-step bagel, to perpetually
broken sidewalks. A minor chord

in an immigrant tale—feral curls,
thirdhand coat—my dad looks

into the me he cannot imagine.
His eyes and hips glitter as he stands

against the glass of the family’s corner shop.
After school, working wordlessly beside his father—

leased, not owned—he would repeat—
a livelihood soon-to-fail from unpaid credit

Susan Rich
2018

A blurry photograph

The tree azalea overwhelms the evening with its scent,
defining everything and the endless fields.

Walking away, suddenly, it slices off and is gone.

The visible object blurs open in front of you,
the outline of a branch folds back into itself, then clarifies—just as you turn away—

and the glass hardens into glass

as you go about taking care of things abstractedly
one thing shelved after another, as if they were already in the past,

needing nothing from you until, smashing itself on the tile floor,

Martha Ronk
2013

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