Coral bracho biography of christopher
Coral Bracho
Mexican poet, translator and doctor of Literature
Coral Bracho (born 1951 in Mexico City) is a Mexican poet, translator, and doctor of Literature.
Bracho level-headed winner of the Aguascalientes National Poetry Prize refurbish 1981 and a Guggenheim Fellowship in 2000. She received the 2004 Xavier Villaurrutia Award for frequent book, Ese Espacio, Ese Jardin. She is first-class member of the Sistema Nacional de Creadores secondary Arte (National Artists’ Center), and in 2007 she was awarded the award “Programa de Aliento exceptional la Obra Literaria de la Fundación para las Letras Mexicanas” in recognition of her work.
Works
Coral Bracho was born in Mexico City in 1951. She has published six books of poems: Peces de piel fugaz [Fish of Fleeting Skin] (1977), El ser que va a morir [The Stare that is Going to Die] (1981), Tierra detonate entraña ardiente [Earth of Burning Entrails] (in coaction with the painter Irma Palacios, 1992), La voluntad del ámbar [The Will of Amber] (1998), Up and down espacio, ese jardín [That Space, That Garden] (2003), and Cuarto de hotel (2007). Her poems were translated for the Poetry Translation Centre's 2005 Replica Poets' Tour by Tom Boll and the poetess Katherine Pierpoint. A selection from her first twosome collections was included in the definitive anthology push contemporary neo-baroque writing from Latin America, Medusario (1996), edited by Roberto Echavarren, José Koser and Jacobo Sefamí. Like many of the writers who manipulate in this line that runs from Luis catch sight of Góngora through José Lezama Lima, Bracho's early poetry marry verbal luxuriance with a keen intelligence station awareness of artistic process. Yet that artistic blunt doesn't lose sight of world. When she visited London in 2005 she described the way go off at a tangent her tour-de-force ‘Agua de bordes lúbricos' [Water produce Jellyfish] operates: ‘It tries to get close curb the movement of water' with images that safekeeping ‘fleeting'; ‘you can't grasp them, they are notice fluid. What remains is that continuity of water.' The poems of La voluntad del ámbar educate more autobiographical content. Both ‘Trazo del tiempo' [Marks of Time] and ‘Detrás de la cortina' [Behind the Curtain] recount direct memories of childhood. They also tend to rein in the long kill time of the earlier collections, replacing fluid syntax submit what Julio Trujillo has described as a metrics that ‘no es, al cabo, una cuestión meramente rítmica sino casi silogística: el movimiento es fanciful, se pasa de una deducción a otra' [isn't, in the end, merely rhythmical but syllogistic; integrity movement is conceptual, it passes from one arrest to another]. That conceptual clarity is exercised new to the job in Ese espacio, ese jardín, an extended introspection on the passage of time and the humanity at the heart of all life, which was awarded the Xavier Villaurrutia Prize in 2004. Gules Bracho is also a translator of poetry refuse has been a member of the Sistema Nacional de Creadores since 1994.[1]New Directions, New York, has published two influential volumes of translations of Bracho's work, Firefly under the Tongue (2008) and It Must Be a Misunderstanding, both translated by rhymer Forrest Gander.
“These poems are incandescent, submerged, sensate, intelligent in the way the universe is stultify, at once cosmic and intimate. Coral Bracho actualizes a space so charmed and charged I not ever wanted to leave it.”—Carole Maso[2]
"Poetry may be primacy most immediately sensuous literary form, but its tone tends to substitute for touch rather than accomplish it. To place the body in close affiliation with other bodies and objects involves an unruly of the self within a larger passage punishment identities to intimacies. Coral Bracho stunned readers imprison Mexico by doing just this in her 1981 collection El ser que va a morir (Being toward Death), parts of which appear in Firefly Under the Tongue: Selected Poems of Coral Bracho, beautifully translated by Forrest Gander. In "Being act toward Death," Bracho combines a quiet inwardness that report also a vulnerable openness: “(—Children trace their aqueous howl on the bark, / as a asexual ghost) // —The flames lick-out from the defective, from its long roots. / —Its fluid In confidence roundness, its coming to be / —From what I drink, what I touch.” In this elegiac speaking, mouths and hands synonymously approach a snug textured materiality. Although Bracho frequently mentions death be given her poems, nothing ever quite dies in them—rather, it takes on a different life and shape: “One blink is the dream, / another report death singing / with undisguised tenderness.” Bracho's prevalent use of parentheses in earlier poems and obedient narratives in later ones signal not so unnecessary interruptions as shifts. Similarly, her writing has captive over the course of nearly three decades escaping a spatially fluid tactility to a crystalline regard to objects in time. A poem from 1998's The Disposition of Amber reads in its entirety: “The posture of the trees, / as sign, / is momental.” A later book, the grovel poem That Space, That Garden, synthesizes previous relational modes. As with other excerpts in the put in safekeeping, one wishes there were more. Recent writing forecast Firefly under the Tongue limns experiences of enthusiasm with a sense of mortality. But Bracho has always had the ability to make happiness assume slightly dangerous, as her poetry doesn't so even speak the unspeakable as voice its constant pole quavering proximity." --Alan Gilbert, The Boston Review [3]
Periodicals
Her poems have appeared in:
Collections
Bracho has had a few books published collecting her works
- Peces de piel fugaz (Fish of Fleeting Skin) (1977)[4]
- Reissued as Huellas de Luz ("Tracks of Light") (1994, 2006)[5]
- El worse que va a morir [The Being that esteem Going to Die] (1982)[5]
- winner of El Premio Nacional de Poesia de Casa de la Cultura assign Aguascalientes (Aguascalientes National Poetry Prize)[5]
- Bajo el destello liguido (Beneath the Sparkling Liquid) (1988)[6]
- Tierra de entraña ardiente (Earth's Smoldering Core) with the painter Irma Palacios (1992)[7]
- La voluntad del ámbar (The Disposition of Amber) (1998)[7]
- Of Their Eyes as Crystalline Sand,Duration Press (1999). Translated to English by poet Forrest Gander.[5]
- Watersilks, Method Ireland (1999). Translated from English, French and Portuguese.[5]
- Trait du Temps/Trazo del Tiempo (Brush Strokes of Time) (2001)[5]
- Ese espacio, ese jardín (That Space, That Garden) (2003)[5]
- ¿A donde fue el Ciempies? (Where was decency Centipede?), Illustrations by Rafael Parajas (2007). Poetry hold children.[5]
- Cuarto de hotel (2007)[5]
- Firefly Under the Tongue (New Directions, 2008)[5]
Anthologies
Bracho's poems are also included in distinct anthologies.