A beautiful skycame with me to Tornquistlike every Monday sunseta beautiful skyand the sunsometimes I look at itfor a second in the facein a raptureshameless and seductivesometimes it’s therebehind the cloudsdiscretewhich allows meto forget about itand quietly watchthe beauty of this skywhite blue pinkmovinglike the sea in slow motionit was the day before yesterdaythe moon eclipsesomething sadtragicmenstrualJulia hurtinghelp she used to saymamamamathe passionand the moonmaking clearits lack of lightalmost deadhumiliatedbut it was just a momentlike everythinga timeand its brightness returnedthe creatures dancedunder the silver light.
Eclipse
Roberta Iannamico
Translated from the Spanish by Alexis Almeida
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“Eclipse” from MANY POEMS: by Roberta Iannamico.
Published by The Song Cave on January 14, 2025.
English Translation Copyright © 2025 by Alexis Almeida.
All rights reserved.
Reproduced by Poetry Daily with permission.
Roberta Iannamico was born August 30, 1972, and has lived in Villa Ventana, Argentina for the past 20 years. She has published several books of poetry, including El zorro gris, El zorro blanco, Mamuskhas, El collar de fideos, Tendal, and several books for children, including Nariz de higo, Ris Ras, La camisa fantasma, Bajo las estrellas, and others. Her poems have been translated into English and Portuguese. She runs poetry workshops, writes and plays music. For the past 18 years she has worked actively on cultural programming for the Macedonio Fernandez Public Library in Villa Ventana.
Alexis Almeida is the author of Caetano (Ugly Duckling Presse 2026), and most recently the translator of Roberta Iannamico’s Many Poems (The Song Cave, 2024). Her translation of Laura Fernández’s There’s a Monster in the Lake is forthcoming from Graywolf in the fall of 2026. She lives in New York and edits 18 Owls Press.
Acclaimed Argentinian poet Roberta Iannamico’s Many Poems animates the particulars of an imaginary world that lives deeply inside this one, where objects acquire voices, seasons move simultaneously across rural landscapes, and a mother and daughter share a unique vision of the past and present. Considering the ways joy interacts with its afterlives and fantasy creates different shapes of grief—a particularly snowy day, the methods of lighting a cigarette, a gentle rain, a naked woman asleep in a field—Iannamico taps into poetry’s distinctive ability to magically transform daily scenes into purely ecstatic visions.
"Reading these 'many poems' feels like coming across a vibrant patch of wildflowers unexpectedly. I’m reminded of the fact that once collections of poems were called 'florilegios' in Spanish—tenderly picked flowers, that is. I’m won over by their openness and seemingly effortless charm, uplifted by their spirit, appearing in another of Iannamico’s poems thus: 'I love life / the moments of life / the everyday ones / even if you barely notice them / the magic ones / the sunny ones / the chatting / the music / the weather….' Almeida’s versions re-perform the poems’ magic, and that too is something to love."
—Mónica de la Torre
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