(El Gato Tuerto, 1984), 28 pages, bilingual, chapbook, out
of print. Translated by Chris Allen and the Author. Nine poems:
"You," "For Albert, the Terrible," "Beauty
is in the Eye of the Beholder," "Chip," "T'estimo
molt, Noia," "Dolce Far Niente," "And
the Rain," "Fanaim," and "In my Labyrinth
(The Minotaur's Game)."
A review stated:
poems deal with everyday life and her environment. They are
filled with tenderness, freshness and immediacy."
— Alberto Jiménez Ure, El Universal,
Caracas, October 26, 1986
I Call Myself Childhood / A veces me llamo infancia (Solar,
1985, 26 pages, Translated by Chris Allen and the Author.
Chapbook) Contains 12 thematically related poems in Spanish
and English: "When I Return to My Childhood," "Eternal
Childhood," "Amateratsu and Kawa-No-Kami,"
"Saturdays," "I Don't Forget," "Joy,"
"Again the Remembrances," "Merci Bien, Monsieur,"
"To John Dos Passos," "Steinbock," "With
Wide Wings," and "We have to Dream."
tiempo es una mujer que espera [Time is a Woman Who
Waits] (Ediciones Torremozas, 1986, 70 pages, in Spanish,
ISBN 84-86072-42-5) Preface by Juana Rosa Pita.The book is
divided in three parts of 25,9 and 13 poems. Out of Print.
For more information contact Ediciones Torremozas of Madrid:
A review stated:
lyricism of Caulfield's poetry comes from the intensity
of the language, its rhythm and cadence, as well as the
lucid language that illuminates the images. There is no
doubt that this is the work of a poet of great maturity
who also possesses an extraordinary esthetic sensibility.
—(María Jesús Mayans Natal, Alba
de América 10-11, 1988.)
Street and other poems (Eboli Poetry Series, 1987, 52
pages, ISBN 0-932-36708). Translated by Chris Allen and the
Author. Preface by Jack Foley. Cover painting "Lines
Drawn" by Eugenia Tusquets.The book is divided in two
parts: I. The Moviola has a Crude Sound System and II. Through
the Keyhole of Memories.
From Jack Foley's preface:
is Carlota Caulfield's extraordinary ability to remain in
that precise state -at once separated and connected, exiled
and 'at home'- that gives her work its special poignancy
and joy, its special power. The poems of 34th Street revolve
with great richness around themes of memory, exile, love,
childhood, dreams. Like Lewis Carroll's Alice, Carlota seems
to have immediate access to another world, a world which
she can enter 'through the keyhole of memories' or through
From "You All Know the Story of the Two Lovers":
With the labyrinthine earth
And imagined herself
Bound to Orpheus' skin.
Somewhere inside him.
Today Orpheus played
With his hands
And imagined himself
Playing a drum
Eurydice's intermittent city.
From "For my Father"
You who lived walking over time.
Majestic of skin and of soul. You
Whom solitude made into a god.
I remember your ancestral darkness,
Dreaming dreams of what you never hoped for,
The roads without final prayers,
The accursed tranquillity which cut our wings.
I saw you die. It was that morning
When I begin to be nobody.
divina [Divine Darkness] (Betania, 1987, 72
pages, in Spanish, ISBN 84-86662-08-7).Introduction by Juana
Rosa Pita. Book design by Gregory P. Collins. Cover painting
"Le Double" by Leonor Fini. Received the Honorable
Mention of the Fourth International Poetry Mairena Award of
Puerto Rico, 1983. Seventy six poems, including a Glossary.
This is a book about goddesses. The poems reconcile haiku
with "greguería", aphorism with sentence,
thus reaffirming roots that are clearly lyrical.
From the blurbs:
divina seems to try to recuperate the lost and forgotten
past of a series of goddesses whose personalities encompass
characteristics that are hidden and forbidden to the present-day
woman. This book creates a new mythic reality based on opposing
values, in which imagination, sex, passion, ambiguity, evil,
love and freedom have a different dimension" —(Fuencisla
Zomeño). "In Caulfield's works, it's important
to note the carnal worship of language (...) It's necessary
to recognize that the essential feature of her relationship
with language is based on its diversity." —(Francisco
Oscurità divina (Giardini Editori e Stampatori
in Pisa, 1990, 68 pages, in Italian). Prologo di Juana Rosa
Pita. Traduzione di Rosella Livoli e Carlos Vitale. Cover
by Vittorio Minghetti. For this collection of poems, Caulfield
was awarded the International Prize "Ultimo Novecento",
Poeti nel Mondo, in 1988.
Dust/Polvo de Angel/Polvere D'Angelo (Betania, 1990,
64 pages). Trilingual edition: English/Spanish/Italian.Translated
into English by Carol Maier. Translated into Italian by Pietro
Civitareale. With three introductions by Maier, Miguel Angel
Zapata and Civitareale. Book design after the Ink drawings
of Master Sengai, Japan, 18th c. Cover painting "Imprisoned
Bag" by Daniel Serra-Badué.
From the blurbs:
de Angel is a book rich in poetic experimentation. The poetic
voice becomes a Zen Master who transmits knowledge (to the
reader) by way of enigmatic riddles" —(Miguel
Angel Zapata). "Her poems are well-crafted, spoken
with awareness" —(Renata Giambene). "Caulfield's
poetry brings a physical dimension to language" —(Francisco
"The Mind is Only a Crazy Monkey"
the thirteenth-century Swedish painter
titled one of his self-portraits
"My original face, before
my parents were born."
The artist's expression
is always beginning
to form on his canvas.
The painting is at each viewing
a new painting
and no one has ever seen
the same face twice.
I have just seen the work in Stockholm,
but in truth what I saw
was my face
with my beginner's mind.
Gezelius is said to have been an angel.
de papel, barro y tinta (Cafè Central, 1995, 8
poems, chapbook, in Spanish). To buy a copy of this beautiful
chapbook write to the editor Antoni Clapés, Cafè
Central, Apartat 36092, 08080 Barcelona, Spain.
las puertas del papel con amoroso fuego (Torremozas,
1996, 64 pages, ISBN 84-7839-171-1). Introduction by Marjorie
Agosín. This book received an Honorable Mention at
the 1992 Premio Plural Poetry Award of Mexico City and the
1997 Latino Poetry Honorable Mention of the Institute of Latin
American Writers of New York. You can order the book in Spanish
from Ediciones Torremozas, Apartado 19.032, 28080 Madrid,
Spain. Fax 34 91 345 85 32. E-mail.
From Agosín's introduction:
texts are beautiful, suggestive, terrifying and humorous.
For example, the one devoted to the Countess Pardo Bazán
in which Caulfield recreates the history of the inside gossip
and suggestive secrets contained in love letters, as if
they were magnets of memory. [...] Caulfield gives us an
extraordinary and hallucinatory book, original and disturbing,
which helps us to recreate our madness and love as extraordinary
women of universal history, from countesses to dancers,
from Incan princesses to nuns, because this poet knows that
the true secret of love letters does not lie with the recipient,
but with the writer. This is an exquisite and joyous collection,
a classic work of 20th century poetry. Caulfield is a poet
to read and remember: her love letters will forever be in
the secret zones or in the open landscapes of the written
From a review:
this book, Caulfield gives us a precise poetic tone, the legacy
of women's incarnations. She makes them speak in the present
time, with exactitude, but always with burning desire."
—Alejandro González Acosta, unomásuno,
México D.F., December 7, 1996.
"The Interludes of the Countess":
certainly do not want you to be unfaithful to me, no: but
it is even harder to conceive of you taking a woman as an
intellectual friend and telling her the plots of your novels.
—(Passage from a letter of Emilia Pardo Bazán
to Benito Pérez Galdós)
1889 and 1890
my pen has loved you
as no other.
I refuse to believe
that the rumors
which are circulating
isn't it, my precious?
of the XXXIX Steps / Libro de los XXXIX escalones (Luz
Bilingual Publishing, 1997, 44 pages, ISBN 0-963-4009-5-9)
Translated by Angela McEwan. 1997 Luz en Arte y Literatura
These poems are poetic commentaries on various paintings by
the Spanish Surrealist Artist Remedios Varo. Other themes:
Alchemy, Mysticism and Kabbala.
ten spheres and ten sayings
speculate at their open book:
the eye's light springs from the pupil
of one perpetually surprised.
is to paint the world in reverse:
the king's laughter explodes
above the crown and evaporates it.
The road leads to Gerona.
The letters are mixed
with water, earth, wood,
stone, cane, stalks and iron:
while Beauty plays
I will reach the observatory.
the Paper Gates with Burning Desire (Eboli Poetry, 2001,
bilingual Spanish-English, 108 pages. ISBN 0-9711391-2-1)
Translated by Angela McEwan in collaboration with the author.
Introduction by Marjorie Agosin.
This book received an Honorable Mention at the 1992 Premio
Plural Poetry Award of Mexico City and the 1997 Latino Poetry
Honorable Mention of the Institute of Latin American Writers
of New York.
Caulfield gives us an extraordinary and hallucinatory book,
original and disturbing, which helps us to recreate our madness
and love as extraordinary women of a universal history, from
countesses to dancers, from Incan princesses to nuns, because
this poet knows that the true secret of love letters does
not lie with the recipient, but with the writer. This is an
exquisite and joyous collection, a classic work of 20th century
poetry. Caulfield is a poet to read and remember: her love
letters will forever be in the secret zones or in the open
landscapes of the written word."
—Marjorie Agosin, author of Women of Smoke.
"I read your incendiary women with immense pleasure,
particularly enjoying the historical texturing of the material.
My only regret was that I wanted more. I will read the collection
one more time because I may want to respond with a poem of
my own. You are inspiring me!"
—Cecile Pineda, author of Face.
"In At the Paper Gates with Burning Desire,
Carlota Caulfield arranges a teasing collage of fragments
of women's writing throughout history and from all over the
world. Her sources are various, ranging from Sappho to Isadora
Duncan, from a Virgin of the Sun to Rosa Luxemburg; letters
are repositioned, faxes and e-mails recontextualized. But
a common theme winds its sinuous way through these shards
of emotion ripped from the past: the secret, playful language
—Stephen Hart, author of White Ink: Essays on Modern
Feminine Fiction in Spain and Latin America.
"In Caulfield's poetry, writing herself becomes rewriting
the other(s). There are two poetic voices in this book: an
intimate female voice, strongly confessional, and an intellectual,
cosmopolitan voice, full of multicultural references and endless
metamorphoses, both of which transform our reading into a
feast for the senses as well as for the mind."
—Jesús J. Barquet, author of Escrituras poéticas
de una nación: Dulce María Loynaz, Juana Rosa
Pita y Carlota Caulfield.
en ojo ajeno (Betania, 2001, ISBN 84-8017-160-X, 72 pages).
Carlota Caulfield nos invita a la poesía en su elocuente
Autorretrato. Furioso y esencial tríptico doble a la
búsqueda de las esencias, reflexiones, seres. Poemario
que nos atrae con voz en grito, sin escondrijos, decididamente,
al gran ritual de la poesía de Carlota Caulfield, poeta
sobretodo de una generación sin generaciones.
Y es que Caulfield se desnuda en su poesía sin miedos,
sin irritaciones. Se deja derramar vocablo a vocablo con pasión
de tinta sobre ese animal vivo de su poesía llameante.
No hay paz, ni pausa, ni sosiego. Caulfield se abre en sensaciones
"juego abierto" y en emociones que no son narrativas
"no quiero contar historias" sino textuales en olores
fuertes "conjunción de azahares", colores
"Con el color de tus ojos / El amanecer me ha sorprendido",
y sonidos "Toco mi filarmónica y digo: / Date
ahora, mujer testaruda". Así lo afirma su espléndido
"La furia de los olores":
en la memoria muerta del sándalo
entre tu sed y mi sed (no hay)
mirra, pachulí y gálbano.
Perfumar, Sahumar, Aromar.
invitación a la poesía sensorial de Carlota
Caulfield, la poeta de las diosas ocultas reencarnadas en
la mujer de hoy (Oscuridad divina), la poeta de los olores
y los sabores "Recetas y consejos para atraer sueños
placenteros", la poeta de los exilios y los viandantes
(34th Street and other poems). Celebremos con ella en esta
Fernando Operé, University of Virginia.
metálicos para juguetes abandonados (Primer Premio
hispanoamericano de poesía "Dulce María
Loynaz", 2002). Ed. Gobierno de Canarias / Consejería
de Educación, Cultura y Deportes, La Laguna-Tenerife,
Islas Canarias, 2003. ISBN 84-7947-345-2. 47 páginas.
Consejería de Educación, Cultura y Deportes
del Gobierno de Canarias acaba de publicar un libro sorprendente
ya desde su título mismo: Movimientos metálicos
para juguetes abandonados, de la poeta cubana de origen irlandés
Carlota Caulfield. Y no deja de ser curioso que haya aparecido
en estas islas puente entre Europa y América, tratándose
como se trata su autora de una poeta viajera, enlace ella
misma de culturas de varios mundos, verdadera creadora de
intertextos, de relaciones entre artes, literaturas y lenguas.
En un libro anterior, Quincunce, Caulfield rendía culto
a esa imagen de lo múltiple que se reúne en
un centro, valiéndose de la metáfora de los
cinco puntos del cuadrado, donde llevaba a cabo una intensa
actualización de vivencias propias y ajenas convergentes
en el corazón mismo de la búsqueda lingüística."
"Ahora Movimiento metálicos, premio Dulce María
Loynaz, galardonado por un jurado entre cuyos miembros se
encontraban Nancy Morejón (poeta cubana), Antonio Piedra
(especialista en F. Pino), Eugenio Padorno (poeta canario)
y Ramón Trujillo (lexicólogo), dando un paso
más, se convierte en una cartografía poética
que reúne las principales líneas escriturarias
de Caulfield: pasión por el viaje y el viajero, en
primer lugar, poética de las ciudades, culto a las
artes, exaltación de la memoria, búsqueda de
una mística, recreación de distintos paisajes
(externos o internos) y sobre todo esa inmensa 'actualización'
de tiempos y espacios, que viene a ser una de sus más
propias 'actitudes' y 'aptitudes'."
—Jaime D. Parra, Barcelona.
Book of Giulio Camillo / El Libro de Giulio Camillo / Il Libro
di Giulio Camillo. Poetry. An Imprint of InteliBooks
Publishers, 2003. 108 pages. ISBN 0-9711391.
Book of Giulio Camillo is a sequence of haunting incantatory
poems by Carlota Caulfield, beautifully translated by Mary
G. Berg. Writing about loss and memory and the redemption
that comes of confronting the wound, Caulfield summons up
the inner life in the dream music of theinexpressible."
—Chana Bloch, author of The Past Keeps Changing
In Classical times, Memory (Mnemosyne) was fabled to be the
mother of the Muses. Frances A. Yates' The Art of Memory traces
the Platonic sources of Giulio Camillo's 16th-century Theater
of Memory in which "memory is not...one part of the art
of rhetoric; memory...is the groundwork of the whole."
In these haunting, enigmatic, impeccably modern poems--the
Seven Pillars not of Wisdom but of Memory--Memory functions
as the key to Carlota Caulfield's complex subjectivity. These
three-lined, haiku-like poems resemble the frames of a film
we do not quite remember but cannot forget. They usher us
into a primal world in which "THE MIND'S TRACE / is defined
in seeds filled with water;" in which
AIR, FIRE AND WATER
are round creatures,
a triad that can be anything.
What Yates writes of Giordano Bruno is true here as well:
El Libro de Giulio Camillo, like memory itself, is
"a most profound discipline...an 'inner writing' of mysterious
Foley, author of O Powerful Western Star, Poetry &
Art in California
Carlota Caulfield's project of reclamation of neglected, and
sometimes not so neglected lives continues in her El Libro
de Giulio Camillo / The Book of Giulio Camillo / Il Libro
di Giulio Camillo. As her "Note in Homage"
informs us, Camillo was one of the most famous men of the
Italian Renaissance, renowned for the invention of a "theatre
of memory" into which a single spectator would insert
his head, to be presented with a view from the stage, as it
were, of seven rows of spectators'seats. "It included,"
Caulfield's note continues, "all branches of knowledge
and a method to memorize them as the 'full wisdom of the universe'
was presented in 'seven times seven doorways.'" This
strange and haunting apparatus, sounding to us like a cross
between a virtual reality headset and an image out of de Chirico,
is translated into the medium of verse by Caulfield's sevenfold
sections of seven tercets which enact, rather than describe,
Camillo's theatre. In limpid and piercing verses, Caulfield
(superbly served here by her translators, Mary G. Berg and
Pietro Civitareale) moves her narrating voice - detached in
the manner of Beckett or Borges - from an initial state of
dessicated receptivity through the several senses and elements
as defined by Renaissance cosmology. As ever in Caulfield's
work there is an insistence upon the body both as physical
presence and as a mode of knowledge.
It is marvelous, yet not an easy work, compelling the reader
as it does to confront the theatre of his or her own memories,
to "meditate with pure water from mouth to ear"
until the memory of some other falls "like warm paper
onto warm paper," briefly escaping the prison of the
self, of subjectivity, "and so the poem is written."
Goodby, author of Irish Poetry Since 1950. From Stillness
Mapmaker’s Diary. Selected Poems.
Bilingual edition. Buffalo, New York: White Pine Press, 2007.
A Mapmaker’s Diary gathers a selection of poems
from both published and unpublished work in a bilingual format
by this verbal acrobat, juggler of words, and magician of
From the editor’s note:
The poetry of Carlota Caulfield is characterized by journeys,
by a wandering memory that seeks to travel all the world’s
roads, to sail to all its islands. The speakers in her poems
are voyagers in perpetual transit, symbols of that wandering
creature that human beings inevitably turn into when they
are exiles from paradise, that is to say, from their mother’s
womb. The poet’s eye yearns to see everything, take
possession of everything, with never a pause to draw a breath.
An eye that perceives all, including the fleeting passage
of time and space.
Goldemberg, author of Peruvian blues
Caulfield has given us a work of great sensuality and rare
luminosity, suffused with an intelligence that is both playful
and meditative. Her pleasures and discoveries become ours;
her tender, often sly observations are crafted for inheritance.
But it is Caulfield’s devotion to the daily sacred that
helps inspire our own.
García, author of Dreaming in Cuban
they invent places and draw boundaries, Caulfield’s
texts splice together a single imaginary map of over layered
external and internal worlds. Restoring past phases of existence
as she seeks herself, her poems can be cultural transmissions
of profound resonance. On center stage is the multicultural
space of the journey, location not only of encounters and
epiphanies, but also of dramatic recollections of experiences
of solitude and uprootedness, the emblematic site of the poet’s
efforts, exile and wanderings.
creation of herself, which in Caulfield’s poetics is
also defined as the singular adventure of self-portraiture
in another’s eye, allows her not only to inhabit other
gazes, and from these new perspectives to constitute herself
through the other’s view, but to reach out to intrinsic
otherness, with unsuspected aesthetic and existential implications.
Carlota Caulfield’s poems are transpersonal and transcultural
self-creation. The author interprets variations of the return
to herself, recounting how her gaze is also present in the
eyes of alterity. At the same time, and recurrently, she assumes
the perspective of movement, of literal and symbolic —that
is, figural— journeys.
Memory makes these poems into gardens of forking paths, cracks
of light that contain the figure of the author, surprised
in the act of writing as she inscribes and translates her
signs into the book of memory, now also a book that takes
on a literal body in the world of life. Eye and word engage
in an intense relationship. A result of this interaction is
a metaphoric pronouncement of the writing that celebrates
the creative power of the gaze and the word, and above all
explores language. Because the visual eye is also the analytical
eye that configures a vision into language, both the eye and
the word indistinguishably constitute object and subject under
permanent scrutiny. More than assertive, they are disruptive
embodiments of the semiotic order in the symbolic. They open
writing to meanings in whose center is found the fabulist
nature of the poet registering the fluctuating forms of her
dynamic self. Her world is conjectural, one of memory games
in shifting art and of permutations. Caulfield’s texts
operate by association and transformation, and model a reading
that occurs in a zone of contacts, shifting sands and exchanges.
Thus, we as readers can only reconfigure ourselves in transit.
G. Bolaños, author of Una lectura de poetas de la diáspora
from “Carlota Caulfield, Poet in Transit” in
A Mapmaker’s Diary. Selected Poems, 15-17)