<p><em>Híkuri (Peyote)</em> is Mexican Infrarealist José Vicente Anaya's cult-classic poem.</p><p><br></p><p>Influenced by his participation in a series of peyote ceremonies in his native Chihuahua, Anaya charts a transformative journey inwards, towards a psychedelic convergence of inside/outside, male/female, past/present, self/other. Incorporating Rarámuri language and traversing territory associated with ecopoetics, ethnopoetics, modernism, and infrarealism, <em>Híkuri (Peyote)</em> presents&nbsp;a utopian alternative to EuroAmerican colonial modernity-a reclamation of autonomy and poetic nomadism.</p><p><br></p><p>-</p><p>An excerpt of this translation appears at:</p><p>https://www.asymptotejournal.com/poetry/jose-vicente-anaya-hikuri-peyote/</p><p><br></p><p>-</p><p><br></p><p><span style="color: rgba(0, 0, 0, 1)">"José Vicente Anaya's long, visionary poem </span><em style="color: rgba(0, 0, 0, 1)">Híkuri</em><span style="color: rgba(0, 0, 0, 1)"> </span><em style="color: rgba(0, 0, 0, 1)">(Peyote)</em><span style="color: rgba(0, 0, 0, 1)"> is a countercultural classic of Mexican literature. But it is not only that: it is a mapping of the borderlands of self, a meditation on the ethnopoetic and its limits, and a celebration of the chant as eco-indigenous form that challenges the colonial politics of the lettered city. While Anaya is often mentioned for his transnational involvement with alternative poetry movements (Beat poetry, Mexican Infrarealism), </span><em style="color: rgba(0, 0, 0, 1)">Híkuri</em><span style="color: rgba(0, 0, 0, 1)"> </span><em style="color: rgba(0, 0, 0, 1)">(Peyote)</em><span style="color: rgba(0, 0, 0, 1)"> is its own translingual poetics of luminous defiance: '</span><span style="color: rgba(34, 34, 34, 1)">I go into uncertainty certain&nbsp; / of ending up uncertain / INCANDESCENT.' Whereas Artaud engaged Rarámuri language and culture through the unabashedly imperial eyes of the tourist poet, Anaya proposes an uneasily decolonial auto-ethnographic poetics that works both from and against the settler logic of the avant-gardes in the Americas. Joshua Pollock's translation powerfully renders the visual and sonic layers of Anaya's song with careful attention to the politics of oral/aural revolution, the gaps of meaning, the silences of a page where 'the True Name is not written.'"--Urayoán Noel</span></p><p><br></p><p><span style="color: rgba(49, 49, 49, 1)">"In </span><em style="color: rgba(49, 49, 49, 1)">Híkuri</em><span style="color: rgba(49, 49, 49, 1)"> (Peyote), José Vicente Anaya gives us an experience more than a poem. Or, rather, the poem is the experience. Here contemporary hallucination is rooted in ancient ritual, and Joshua Pollock's seamless translation gives the reader a map as deep as it is broad, one upon which we may find our own pathways in these terrifying times."</span><span style="color: rgba(34, 34, 34, 1)">--</span><span style="color: rgba(0, 0, 0, 1)">Margaret Randall</span></p><p><br></p><p><span style="color: rgba(34, 34, 34, 1)">"</span><em style="color: rgba(49, 49, 49, 1)">Híkuri</em><span style="color: rgba(49, 49, 49, 1)"> </span><span style="color: rgba(34, 34, 34, 1)"> [Peyote] is a synesthetic delirium of language and sound streaming out of the collective unconscious - Pollock's translations of Anaya's psychedelic text form circuitous waterfalls of poetry that illuminates a Möbius strip across languages. This book is a nomadic swirl of 'ESCAPE VELOCITY.'&nbsp; Drink some orange juice and put your phone away when you read this book. Let the languages guide 'the alchemy in your pupils' towards the unexpected."--</span><span style="color: rgba(0, 0, 0, 1)">Angel Dominguez</span></p><p><br></p><p><br></p>