I didn’t mind ferns enough, I thought, the last time I hiked upto Lookout Point. They’re so unassuming. I’d be lookingat the tops of third-generation redwoods, or beyond, towardGoogleplex, in Mountain View, which later Google confirmedwas the complex off in the distance. And I’d be picturing,those last days, rhizomes and spores. Sorry to make you feel judged,I almost texted. Stopped myself. Truth is I judge, and if judgeswere prone to feeling sorry, they wouldn’t. I welcomed noiseinstead of trying to block it out with the folk musician’s songs,Scottish, coming from my laptop. If you don’t remember a name,does it mean you don’t care to remember. You’d taken yourselfto places whose specifics you’d chosen to forget. You said youweren’t there to keep track, but to experience. Which, whenI’m feeling negative, I translate as ditching the thing as soon asyou’re done with it onto the heap of junk you’re not accumulating.Those who get the backend know what detailed tagging can lead to:a map so precise it’s the territory’s size. We’re drifting apartagain, spore-like. I’m done completing your sentences.A version of the signs along the trail anticipating the hikers’ups and downs. “It begins with feeling,” was the first, spottedat the same time I noticed the pet waste bags someone had leftbehind. “Here you leave your worries,” seen after I passed a guywhose grin was such, he did seem to have just dumped them.This one got me thinking about our tendency to ruin things:“This is a beautiful moment.” The last wasn’t part of the art:“Please keep out of area under renovation.” That resonated.
Remote Disjunctions
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“Remote Disjunctions” from PAUSE THE DOCUMENT: by Mónica de la Torre.
Published by Nightboat Books on March 11, 2025.
Copyright © 2025 by Mónica de la Torre.
All rights reserved.
Reproduced by Poetry Daily with permission.
Nat Ward
Mónica de la Torre’s seven poetry books include Pause the Document, just out from Nightboat Books. Other books include Repetition Nineteen, The Happy End / All Welcome, and two collections in Spanish published in her native Mexico City. Among other anthologies, she co-edited Women in Concrete Poetry 1959–79. She is the recipient of a 2022 Creative Capital grant and the 2022 Foundation for Contemporary Arts C.D. Wright Award for Poetry and teaches poetry and translation at Brooklyn College’s Creative Writing MFA program.
"In Mónica de la Torre’s hands, opacity is all etymology. 'Variability and many-sidedness' disallow the pause of stillness, pushing us back into the activity of knowing. For her, lingua ingnota, the unknown language, ghosts us even in the noise of grief. In these Wordsworthian poems, the speaker, distressed by the social order, turns, intrigued, to trees: their properties, lives, language, and entanglements. 'Information runs through these lines like sap.' Rebounding their kaleidoscopic thinking and consciousness off the surfaces and textures of the landscape, the brilliant poems of Pause the Document remind us how we can 'unfold as a flow' inside language and life."
—Claudia Rankine
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