Blackwater Mountain by Charles Wright. Poesías escogidas en inglés. Traducción al español.

Charles Wright, uno de los poetas norteamericanos vivos más importantes. Ganó el premio Pulitzer en 1998 y fue poeta laureado de Estados Unidos 2014-2015.


Blackwater Mountain by Charles Wright:

That time of evening, weightless and disparate,

When the loon cries, when the small bass

Jostle the lake’s reflections, when

The green of the oak begins

To open its robes to the dark, the green

Of water to offer itself to the flames,

When lily and lily pad

Husband the last light

Which flares like a white disease, then disappears:

This is what I remember. And this:

The slap of the jacklight on the cove;

The freeze-frame of ducks

Below us; your shots; the wounded flop

And skid of one bird to the thick brush;

The moon of your face in the fire’s glow;

The cold; the darkness. Young,

Wanting approval, what else could I do?

And did, for two hours, waist-deep in the lake,

The thicket as black as death,

Without success or reprieve, try.

The stars over Blackwater Mountain

Still dangle and flash like hooks, and ducks

Coast on the evening water;

The foliage is like applause.

I stand where we stood before and aim

My flashlight down to the lake. A black duck

Explodes to my right, hangs, and is gone.

He shows me the way to you;

He shows me the way to a different fire

Where you, black moon, warm your hands.

Blackwater Mountain por Charles Wright:

A esa hora de la noche, sin peso y dispar,

Cuando el somorgujo llora, cuando la pequeña perca

Impulsa los reflejos del lago, cuando

El verde del roble comienza

a abrir su manto a la oscuridad, el verde

Del agua se ofrecer a las llamas,

Cuando el lirio y la pareja del lirio

manejan la última luz

Que se enciende como una enfermedad blanca, entonces desaparece:

Esto es lo que recuerdo. Y esto:
La bofetada de la luz portátil en la cala;

El fotograma congelado de los patos

bajo nosotros; tus disparos; el descanso herido

Y el patinar de un pájaro por la tupida maleza;

La luna de tu cara en el resplandor del fuego;

El frío; la oscuridad. Joven,

Queriendo la aprobación, ¿qué más podría hacer?

Y lo hizo, durante dos horas, hasta la cintura en el lago,

La espesura tan negra como la muerte

Sin éxito o indulto, inténtalo.
Las estrellas sobre Blackwater Mountain

Todavía cuelgan y destellan como ganchos, y los patos

se deslizan en el agua de la tarde;

El follaje es como un aplauso.

Me quedo donde estábamos parados y apunto

Mi linterna hacia el lago. Un pato negro

vuela a mi derecha, se suspende y se va.

Él me muestra el camino hacia ti;

Él me muestra el camino a un fuego diferente

Donde tú, luna negra, calientas tus manos.

Charles Wright (Tennessee, 1935), uno de los poetas norteamericanos vivos más importantes, es autor de una intensa obra lírica de casi una veintena de títulos.

Ganó el premio Pulitzer en 1998 y fue poeta laureado de Estados Unidos 2014-2015.

Lector apasionado de Dante, traductor de sus pares italianos, cumplió su servicio militar en Italia, y años después regresaría a sostener un extraño encuentro con Ezra Pound –llovía sobre los pórticos de la Plaza de San Marcos, en Venecia; ninguno dijo nada–, en cuyos Cantos encontró un modelo para la estructuración poemática de sus propias divagaciones.

Su obra central es una trilogía compuesta por los libros Country music, The world of the ten thousand things y Negative blue, cada uno conformado a su vez por tres colecciones de poemas. En español conocemos apenas dos de los poemarios del conjunto final, cimas innegables de su producción: Zodiaco negro, publicado por Pre-Textos en 2002 (traducción de Jeannette L. Clariond), y Apalaquia, publicada por El tucán de Virginia en 2003 (traducción de Valerie Mejer y E. M. Test).


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Biografía de Pearl S. Buck. Famous people in English. Personajes famosos en inglés.

Pearl S. Buck Biography and bibliography

Pearl Sydenstricker Buck was born in Hillsboro, West Virginia, on June 26, 1892, to Presbyterian missionary parents. Her family returned to China when she was an infant, and she spent her early years in the city of Zhenjiang.

Buck received her early education from her mother and a Chinese Confucian scholar, later attending missionary schools and a high school in Shanghai. She entered Randolph-Macon Woman’s College in 1910. A philosophy major, she was active in student government and the YWCA and wrote for the college’s literary magazine and yearbook.

Soon after her graduation in 1914, she left again for China, which she considered her true homeland. In 1917, she married John Lossing Buck, an agricultural specialist who was also doing missionary work in China. They lived for several years in North China, then moved in 1921 to Nanjing, where she was one of the first American teachers at Nanjing University and where her daughter Carol was born. In 1927 her family escaped a brutal anti-western attack through the kindness of a Chinese woman whom Buck had befriended.



Buck was deeply touched by the simplicity and purity of Chinese peasant life and wrote extensively on this subject. In 1931, she published The Good Earth, a novel about the fluctuating fortunes of the peasant family of Wang Lung. For this work, generally considered her masterpiece, she received the Pulitzer Prize in 1932. The Good Earth was followed by two sequels: Sons (1932) and A House Divided (1935). The Exile and Fighting Angel, biographies of her mother and father, followed in 1936 and were singled out for praise by the committee that awarded her the Nobel Prize in Literature in 1938.

She moved permanently to the United States in 1934. In the following year, she divorced Lossing Buck and married her publisher, Richard Walsh. For the remainder of her life, she wrote prolifically, producing a total of more than a hundred works of fiction and non-fiction. Her private life, too, was a full one, as she and Walsh adopted eight children.

She became a prominent advocate of many humanitarian causes. She was a founder of the East and West Association, dedicated to improving understanding between Asian and America. Her experiences as the mother of a retarded child led her to work extensively on behalf of the mentally handicapped and to publish the moving and influential book, The Child Who Never Grew. The plight of Amerasian children, rejected by two worlds, aroused her sympathy as well, and in 1964 she established the Pearl S. Buck Foundation to improve their lives.

She died on March 6, 1973, leaving behind an impressive body of writing and the memory of a life lived in service to tolerance and mutual respect.

Selected bibliography


  • My Several Worlds: A Personal Record (New York: John Day, 1954).
  • A Bridge For Passing (New York: John Day, 1962)


  • The Exile (1936)
  • Fighting Angel (1936)


See also: List of bestselling novels in the United States in the 1930s

  • East Wind:West Wind (1930)
  • The House of Earth
    • The Good Earth (1931)
    • Sons (1933)
    • A House Divided (1935)
  • The Mother (1933)
  • All Men Are Brothers (1933), a translation of the Chinese classical prose epic Water Margin.
  • This Proud Heart (1938)
  • The Patriot (1939)
  • Other Gods (1940)
  • China Sky (1941)
  • Dragon Seed (1942)
  • The Promise (1943)
  • China Flight (1943)
  • The Townsman (1945) – as John Sedges
  • Portrait of a Marriage (1945)
  • Pavilion of Women (1946)
  • The Angry Wife (1947) – as John Sedges
  • Peony (1948)
  • The Big Wave (1948)
  • The Long Love (1949) – as John Sedges
  • The Bondmaid (1949), first published in Great Britain
  • Kinfolk (1950)
  • God’s Men (1951)
  • The Hidden Flower (1952)
  • Come, My Beloved (1953)
  • Voices in the House (1953) – as John Sedges
  • The Beech Tree (1954) A Children’s story
  • Imperial Woman (1956)
  • Letter from Peking (1957)
  • Command the Morning (1959)
  • Satan Never Sleeps (1962; see 1962 film Satan Never Sleeps)
  • The Living Reed (1963)
  • Death in the Castle (1965)
  • The Time Is Noon (1966)
  • Matthew, Mark, Luke and John (1967)
  • The New Year (1968)
  • The Three Daughters of Madame Liang (1969)
  • Mandala (1970)
  • The Goddess Abides (1972)
  • All Under Heaven (1973)
  • The Rainbow (1974)
  • The Eternal Wonder, (believed to have been written shortly before her death, published in October 2013)


  • Is There a Case for Foreign Missions? (New York: John Day, 1932).
  • The Chinese Novel: Nobel Lecture Delivered before the Swedish Academy at Stockholm, December 12, 1938 (New York: John Day, 1939).
  • Of Men and Women (1941)
  • What America Means to Me (New York: John Day, 1943). Essays.
  • Talk about Russia (with Masha Scott) (1945)
  • Tell the People: Talks with James Yen About the Mass Education Movement (New York: John Day, 1945).
  • How It Happens: Talk about the German People, 1914–1933, with Erna von Pustau (1947)
  • with Eslanda Goode Robeson. American Argument (New York: John Day, 1949).
  • The Child Who Never Grew (1950)
  • The Man Who Changed China: The Story of Sun Yat-sen (1953)
  • For Spacious Skies (1966)
  • The People of Japan (1966)
  • To My Daughters, With Love (1967)
  • The Kennedy Women (1970)
  • China as I See It (1970)
  • The Story Bible (1971)
  • Pearl S. Buck’s Oriental Cookbook (1972)
  • “Words of Love” (1974)

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This Is Me. Keala Settle. Canción nominada al Oscar en 2018 Letra en inglés, traducción al español y video. BIOGRAFIA BREVE. DISCOGRAFIA. FOTOS.

“This is me” es una canción nominada al Oscar en 2018 e interpretada por Keala Settle. Muy valorada por la crítica y aclamada por los espectadores.

Video de la canción This Is Me de Keala Settle


This Is Me by Keala Settle

I am not a stranger to the dark

Hide away, they say

‘Cause we don’t want your broken parts

I’ve learned to be ashamed of all my scars

Run away, they say

No one’ll love you as you are

But I won’t let them break me down to dust

I know that there’s a place for us

For we are glorious

When the sharpest words wanna cut me down

I’m gonna send a flood, gonna drown them out

I am brave, I am bruised

I am who I’m meant to be, this is me

Look out ‘cause here I come

And I’m marching on to the beat I drum

I’m not scared to be seen

I make no apologies, this is me





Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

Another round of bullets hits my skin

Well, fire away ‘cause today, I won’t let the shame sink in

We are bursting through the barricades

And reaching for the sun

(We are warriors)

Yeah, that’s what we’ve become

(Yeah, that’s what we’ve become)

Won’t let them break me down to dust

I know that there’s a place for us

For we are glorious

When the sharpest words wanna cut me down

Gonna send a flood, gonna drown them out

I am brave, I am bruised

I am who I’m meant to be, this is me

Look out ‘cause here I come

And I’m marching on to the beat I drum

I’m not scared to be seen

I make no apologies, this is me





Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

This is me


And I know that I deserve your love


There’s nothing I’m not worthy of

Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

When the sharpest words wanna cut me down

I’m gonna send a flood, gonna drown them out

This is brave, this is bruised

This is who I’m meant to be, this is me

Look out ‘cause here I come

(Look out ‘cause here I come)

And I’m marching on to the beat I drum

(Marching on, marching, marching on)

I’m not scared to be seen

I make no apologies, this is me


When the sharpest words wanna break me down

I’m gonna send a flood, gonna drown them out

Oh-oh-oh-oh, oh-oh-oh-oh, oh-oh-oh-oh


I’m gonna send a flood, gonna drown them out

Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

This is me

Esta soy yo by Keala Settle (traducción libre al español)

No soy un extraño en la oscuridad

Escóndete, dicen

Porque no queremos tus partes rotas

He aprendido a avergonzarme de todas mis cicatrices

Huye, dicen

Nadie te amará como eres

Pero no dejaré que me conviertan en polvo

Sé que hay un lugar para nosotros

Porque somos gloriosos

Cuando las palabras afiladas me quieran lastimar

Enviaré una inundación, voy a ahogarles

Soy valiente, tengo moretones

Soy quien estoy destinada a ser, esta soy yo

Mira alrededor, porque aquí llego

Y estoy marchando a mi propio ritmo

No tengo miedo de ser vista

No me disculpo, esta soy yo





Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

Otra ronda de balas golpea mi piel

Bueno, dispara porque hoy, no dejaré que la vergüenza me hunda

Estamos estallando a través de las barricadas

Y alcanzando el sol

 (Somos guerreros)

 (Sí, eso es en lo que nos hemos convertido)

 (Sí, eso es en lo que nos hemos convertido)

No dejaremos que nos conviertan en polvo

Sé que hay un lugar para nosotros

Porque somos gloriosos

Cuando las palabras afiladas me quieran lastimar

voy a mandar una inundación, voy a ahogarles

Soy valiente, tengo moretones

Soy quien estoy destinada a ser, esta soy yo

Mira alrededor, porque aquí llego

Y estoy marchando a mi propio ritmo

No tengo miedo de ser vista

No me disculpo, esta soy yo





Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

Esta soy yo


Y sé que merezco tu amor


No hay nada que yo no valga

Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

Cuando las palabras afiladas me quieran lastimar

Enviaré una inundación, les ahogaré

Esta es valiente, tiene moretones

Esta es quién estoy destinada a ser, esta soy yo

Mira alrededor, porque aquí llego

Mira alrededor, porque aquí llego

Y estoy marchando a mi propio ritmo

 (marchando, marchando, marchando)

No tengo miedo de ser vista

No me disculpo, esta soy yo


Cuando las palabras afiladas me quieran romper

Enviaré una inundación, les ahogaré

Oh-oh-oh-oh, oh-oh-oh-oh, oh-oh-oh-oh


Enviaré una inundación, les ahogaré

Oh-oh-oh, oh-oh-oh, oh-oh-oh, oh, oh

Esta soy yo


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Biografía de Henry Fonda. Famous people in English. Personajes famosos en inglés.


Early life and Family

He was born in Grand Island, Nebraska to William Brace Fonda and Herberta Krueger Jaynes, observant Christian Scientists. The Fonda family had emigrated westward from New York in the 1800s, and can trace its ancestry from Genoa, Italy, to The Netherlands in the 1500s, and then to the United States of America in the 1600s, where they founded a still-extant town called Fonda, New York.

Early records show the family ensconced in northern Italy in the sixteenth century where they fought on the side of the Reformation, fled to Holland, intermarried with Dutch burghers’ daughters, picked up the first names of the Low Countries, but retained the Italianate Fonda. Before Pieter Stuyvesant surrendered Nieuw Amsterdam to the English the Fondas, instead of settling in Manhattan, canoed up the Hudson River to the Indian village of Caughawaga. Within a few generations, the Mohawks and the Iroquois were butchered or fled and the town became known to mapmakers as Fonda, New York.

As a youth in Nebraska, Fonda was active in the Boy Scouts of America as a youth and was a Scoutmaster, but was not an Eagle Scout as some report. He then attended the University of Minnesota, majoring in journalism, although he did not graduate. At age twenty, he started his acting career at the Omaha Community Playhouse when his mother’s friend Dodie Brando, mother of Marlon Brando, needed a young man to play the lead in You and I. He went East to perform with the Provincetown Players and Joshua Logan’s University Players, an intercollegiate summer stock company and incubator of rising stars, where he worked with Margaret Sullavan, his future wife, and began a lifelong friendship with Jimmy Stewart.


Early career

Along with Stewart, Fonda headed for New York City, where the two were roommates and honed their skills on Broadway. Fonda appeared in theatrical productions from 1926 to 1934 and earned his first film appearance (1935) as the leading man in 20th Century-Fox’s screen adaptation of The Farmer Takes a Wife. He reprised his role from the Broadway production of the same name. When Fonda joined Stewart in Hollywood, Fonda shared Stewart’s house, and the two young glamorous stars gained a reputation for womanizing.

Fonda’s film career blossomed, as he followed up with an appearance in The Trail of the Lonesome Pine, the first outdoor Technicolor movie, and the lead role in You Only Live Once (1937), directed by Fritz Lang.

World War II

Fonda played opposite Barbara Stanwyck in The Lady Eve (1941), and was acclaimed for his role in The Ox-Bow Incident, but he then enlisted in the Navy to fight in World War II, saying, “I don’t want to be in a fake war in a studio.”

Previously, he and Stewart had helped raise funds for the defense of Britain from the Nazis. Fonda served for three years, initially as a Quartermaster 3rd Class on the destroyer USS Satterlee; he was later commissioned as a Lieutenant Junior Grade in Air Combat Intelligence in the Central Pacific and won a Presidential Citation and the Bronze Star.


Post-war career

After the war, Fonda appeared in the film Fort Apache (1948), and his contract with Fox expired. Refusing another long-term studio contract, Fonda returned to Broadway, wearing his own officer’s cap to originate the title role in Mister Roberts, a comedy about the Navy. He won a 1948 Tony Award for the part, and later reprised his performance in the national tour and 1955 film version opposite James Cagney, continuing a pattern of bringing his acclaimed stage roles to life on the big screen. On the set of Mister Roberts, Fonda came to blows with John Ford and vowed never to work for him again. He never did.

Career in the ’50s and ’60s

After a six-year break from Hollywood, Fonda returned in the critically acclaimed Mister Roberts, as Lt. Douglas Roberts, a role he had originated in the play. He followed this success with a string of classic films, the first being the big-budget Paramount Pictures production of the Leo Tolstoy epic War and Peace, in which Fonda played Pierre Bezukhov opposite Audrey Hepburn. Fonda worked with Alfred Hitchcock in 1956, playing a man falsely accused of murder in The Wrong Man.

In 1957, Fonda made his first foray into production with 12 Angry Men, based on a script by Reginald Rose and directed by Sidney Lumet. The intense film about twelve jurors deciding the fate of a young man accused of murder was well-received by critics worldwide. Fonda shared the Academy Award and Golden Globe nominations with coproducer Reginald Rose and won the 1958 BAFTA Award for Best Actor for his performance as the logical “Juror #8.” Henry Fonda vowed that he would never produce a movie ever again.

The sixties found Fonda in a number of war and western epics, including 1962’s The Longest Day and How the West Was Won, 1965’s In Harm’s Way and Battle of the Bulge, and the 1964 suspense film Fail-Safe, about possible nuclear holocaust. He also returned to more lighthearted cinema in 1963’s Spencer’s Mountain, the inspiration for the television program The Waltons, and 1968’s Yours, Mine and Ours.

He appeared against type as the villain “Frank” in 1968’s Once Upon a Time in the West. After turning down the role, he was talked into it by actor Eli Wallach and director Sergio Leone, who flew from Italy to the United States to persuade him to play the part. Fonda had planned on wearing a pair of brown-colored contact lenses, but Leone had worked important close-up shots of Fonda’s blue eyes into the film.

Fonda and Stewart costarred in the western The Cheyenne Social Club, a minor film in which the two humorously argued politics. Previously, they had appeared together in On Our Merry Way, a 1948 comedy featuring Carl “Alfalfa” Switzer.


Marriages and children

Henry Fonda was married five times. His marriage to Margaret Brooke Sullavan in 1931 soon ended in separation, which was finalized in a 1933 divorce. In 1936, he married Frances Ford Seymour. They had two children: Peter and Jane. In 1950, Seymour committed suicide. In 1950, Fonda married Susan Blanchard, the stepdaughter of Oscar Hammerstein II. Together, they adopted a daughter, Amy (born 1953), but divorced three years later, and in 1957 Fonda married Italian Countess Afdera Franchetti. They remained married until 1961. Soon after, Fonda married Shirlee Mae Adams and remained with her for seventeen years, until his death in 1982.

His relationship with his children has been described as “emotionally distant.

Jane Fonda also reported feeling detached from her father, especially during her early acting career. Henry Fonda introduced her to Lee Strasberg. In the late 1950s, when she asked him how he prepared before going on stage, he baffled her by answering, “I don´t know, I stand there, I think about my wife, Afdera, I don’t know.”

Fonda’s daughter shared this view: “My father can’t articulate the way he works. He just can’t do it. He’s not even conscious of what he does, and it made him nervous for me to try to articulate what I was trying to do. And I sensed that immediately, so we did very little talking about it. He said, ‘Shut up, I don’t want to hear about it.’ He didn’t want me to tell him about it, you know. He wanted to make fun of it.”


Late career

Despite approaching his seventies, Henry Fonda continued to work in both television and film throughout the 1970s. 1970 found Fonda in three films, the most successful of these ventures being The Cheyenne Social Club. The other two films were Too Late the Hero.

Fonda made a return to both foreign and television productions, which provided career sustenance through a decade in which many aging screen actors suffered waning careers. He starred in the ABC television series The Smith Family between 1971 and 72. 1973’s TV-movie The Red Pony, an adaptation of John Steinbeck’s novel, earned Fonda an Emmy nomination. After the unsuccessful Hollywood melodrama, Ash Wednesday, he filmed three Italian productions released in 1973 and 1974. The most successful of these, Il Mio nome è Nessuno (My Name Is Nobody), presented Fonda in a rare comedic performance as an old gunslinger whose plans to retire are dampened by a “fan” of sorts.


Henry Fonda continued stage acting throughout his last years, including several demanding roles in Broadway plays. He returned to Broadway in 1974 for the biographical drama, Clarence Darrow, for which he was nominated for a Tony Award.

Fonda’s health had been deteriorating for years, but his first outward symptoms occurred after a performance of the play in April 1974, when he collapsed from exhaustion. After the appearance of a heart arrhythmia, a pacemaker was installed, and Fonda returned to the play in 1975. After the run of the 1978 play, First Monday of October, he took the advice of his doctors and quit plays, though he continued to star in films and television.

In 1976, Fonda appeared in several notable television productions, the first being Collision Course, the story of the volatile relationship between President Harry Truman (E.G. Marshall) and General MacArthur (Fonda), produced by ABC. After an appearance in the acclaimed Showtime broadcast of Almos’ a, he starred in the epic NBC miniseries Captains and the Kings, based on Taylor Caldwell’s novel. Three years later, he appeared in ABC’s Roots: The Next Generation, but the miniseries was overshadowed by its predecessor, Roots. Also in 1976, Fonda starred in the World War II blockbuster Midway.

Like many aging actors, Fonda finished the seventies with a number of disaster movies, which cashed in on big names to drive box office sales. With the disaster genre’s popularity fading, Fonda filmed two last films; first the global disaster, Meteor, with Natalie Wood and Martin Landau; and then the Canadian production, City on Fire, which also featured Shelley Winters and Ava Gardner.


As Fonda’s health continued to suffer, and he took longer breaks between filming, critics began to take notice of his extensive body of work. In 1979, the Tony Awards committee gave Fonda a special award for his achievements on Broadway. Lifetime Achievement awards from the Golden Globes and Academy Awards followed in 1980 and 1981, respectively.

Fonda continued to act into the early eighties, though all but one of the productions he was featured in before his death were for television. These television works included the critically acclaimed live performance of Preston Jones’ The Oldest Living Graduate, the Emmy nominated Gideon’s Trumpet and 1981’s Summer Solstice, which teamed Fonda with Myrna Loy. This is the last film that Henry Fonda is credited for, and work began on it after the release of On Golden Pond.

Before Summer Solstice was made, however, 1981 brought Fonda’s last cinematic film, an adaptation of Ernest Thompson’s On Golden Pond. The film, directed by Mark Rydell, provided unprecedented collaborations between Fonda, Katharine Hepburn, and Fonda’s daughter, Jane. When premiered in December 1981, the film was well received by critics, and after a limited release on December 4th, On Golden Pond developed enough of an audience to be widely released on January 22nd. Thanks to eleven Academy Award nominations, the film earned nearly $120 million at the box office, becoming an unexpected blockbuster.

Death and legacy

Fonda died at his Los Angeles home on August 12, 1982, at the age of 77 after suffering from both heart disease and prostate cancer. Fonda’s wife Shirlee and daughter Jane were at his side when he died.

In the years since his death, his career has been held in even higher regard than during his life. He is widely recognized as one of the Hollywood greats of the classic era. On his 100th birthday, May 16, 2005, Turner Classic Movies honored him with a marathon of his films. Also in May of 2005, the United States Post Office released a thirty-seven cent postage stamp with an artist’s drawing of Fonda as part of their “Hollywood legends” series.



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Tracy K. Smith. Don’t You Wonder, Sometimes? Poesías escogidas en inglés. Traducción al español.

Tracy K. Smith es una poeta y educadora estadounidense. Ganó el Premio Pulitzer en el 2011 por su colección Vida en Marte.

En 2016 Smith fue jurado en el Premio Griffin de Poesía.

Don’t You Wonder, Sometimes? De Tracy K. Smith


After dark, stars glisten like ice, and the distance they span

Hides something elemental. Not God, exactly. More like

Some thin-hipped glittering Bowie-being—a Starman

Or cosmic ace hovering, swaying, aching to make us see.

And what would we do, you and I, if we could know for sure

That someone was there squinting through the dust,

Saying nothing is lost, that everything lives on waiting only

To be wanted back badly enough? Would you go then,

Even for a few nights, into that other life where you

And that first she loved, blind to the future once, and happy?

Would I put on my coat and return to the kitchen where my

Mother and father sit waiting, dinner keeping warm on the stove?

Bowie will never die. Nothing will come for him in his sleep

Or charging through his veins. And he’ll never grow old,

Just like the woman you lost, who will always be dark-haired

And flush-faced, running toward an electronic screen

That clocks the minutes, the miles left to go. Just like the life

In which I’m forever a child looking out my window at the night sky

Thinking one day I’ll touch the world with bare hands

Even if it burns.


He leaves no tracks. Slips past, quick as a cat. That’s Bowie

For you: the Pope of Pop, coy as Christ. Like a play

Within a play, he’s trademarked twice. The hours

Plink past like water from a window A/C. We sweat it out,

Teach ourselves to wait. Silently, lazily, collapse happens.

But not for Bowie. He cocks his head, grins that wicked grin.

Time never stops, but does it end? And how many lives

Before take-off, before we find ourselves

Beyond ourselves, all glam-glow, all twinkle and gold?

The future isn’t what it used to be. Even Bowie thirsts

For something good and cold. Jets blink across the sky

Like migratory souls.


Bowie is among us. Right here

In New York City. In a baseball cap

And expensive jeans. Ducking into

A deli. Flashing all those teeth

At the doorman on his way back up.

Or he’s hailing a taxi on Lafayette

As the sky clouds over at dusk.

He’s in no rush. Doesn’t feel

The way you’d think he feels.

Doesn’t strut or gloat. Tells jokes.

I’ve lived here all these years

And never seen him. Like not knowing

A comet from a shooting star.

But I’ll bet he burns bright,

Dragging a tail of white-hot matter

The way some of us track tissue

Back from the toilet stall. He’s got

The whole world under his foot,

And we are small alongside,

Though there are occasions

When a man his size can meet

Your eyes for just a blip of time

And send a thought like SHINE


Straight to your mind. Bowie,

I want to believe you. Want to feel

Your will like the wind before rain.

The kind everything simply obeys,

Swept up in that hypnotic dance

As if something with the power to do so

Had looked its way and said:

                                                      Go ahead.


¿No te preguntas, a veces? De Tracy K. Smith (traducción libre al español)


Después del anochecer, las estrellas brillan como el hielo, y la distancia que abarcan

Esconde algo elemental. No a Dios, exactamente. Más bien a alguien

Delgado y brillante del tipo de Bowie —un hombre estrella

O un as cósmico flotando, balanceándose, sufriendo  para hacernos ver.

¿Y qué haríamos, tú y yo, si pudiéramos saber con seguridad

Que alguien estaba ahí viendo de reojo a través del polvo,

Diciendo que nada está perdido, que todo vive a la espera de sólo

ser querido de nuevo con la suficiente intensidad? ¿Irías entonces,

Incluso por unas cuantas noches, hacia esa otra vida donde tú

Y el primer amor que ella tuvo, ciegos para al futuro una vez, y felices?

¿Debería ponerme mi abrigo y regresar a la cocina donde mi

Madre y mi padre se sientan esperando, y la cena calentándose en el horno?

Bowie nunca morirá. Nada llegará para él en su sueño

Ni correrá por sus venas. Y nunca se volverá viejo,

Como la mujer que perdiste, que siempre tendrá el cabello oscuro

Y estará ruborizada, corriendo hacia de una pantalla electrónica

Que marca los minutos, las millas por correr. Como la vida

En la que siempre soy una niña que mira por la ventana el cielo nocturno

Pensando que un día tocaré el mundo con las manos desnudas

Incluso si éste quema. .


Él no deja rastro. Se desliza más allá, veloz como un gato. Eso es Bowie

Para ti: el Papa del Pop, modesto como Cristo. Como una obra de teatro

Dentro de una obra de teatro, él es una marca registrada dos veces. Las horas

Caen como agua en una ventana con aire acondicionado. Lo transpiramos

Enseñándonos a esperar. En silencio, con pereza, el colapso ocurre.

Pero no para Bowie. Él ladea su cabeza, sonríe con esa malvada sonrisa.

El tiempo nunca se detiene, ¿pero tiene fin? ¿Y cuántas vidas

Antes del despegue, antes de que nos busquemos a nosotros mismos

Más allá de nosotros mismos, todo glamoroso y resplandeciente, todo brillante y dorado?

El futuro no es lo que solía ser. Incluso Bowie tiene sed

De algo bueno y frío. Los jets parpadean en el cielo

Como almas migratorias.


Bowie está entre nosotros. Justo aquí

En Nueva York. Con una gorra de beisbol

Y en unos jeans caros. Sumergiéndose en

Una tienda delicatessen. Exhibiendo todos esos dientes

Al portero en su camino de regreso.

O está tomando un taxi en Lafayette

Mientras el cielo se nubla en el crepúsculo.

Él no tiene ninguna prisa. No siente

De la forma en que piensas que siente.

No presume ni alardea. Hace bromas.

He vivido aquí todos estos años

Y nunca le he visto. Es como no distinguir

Un cometa de una estrella fugaz.

Pero apuesto que arde brillante,

Arrastrando una cola de ardiente materia blanca,

Igual que cuando uno de nosotros deja un rastro de papel higiénico

Cuando regresa del sanitario. Él alcanzó a tener

El mundo entero bajo su pie,

Y somos pequeños a su lado,

Aunque haya ocasiones

En las que un hombre de su tamaño puede cruzar su mirada

Contigo justo por un breve momento  

Y mandar un pensamiento como BRILLA


Directo a tu mente. Bowie,

Quiero creer. Quiero sentir

Tu voluntad como el viento antes de la lluvia.

Del tipo en que cualquiera simplemente obedece,

Arrasado por ese baile hipnótico

Como si algo con el poder para hacerlo

Hubiera mirado en su dirección y dicho:

                                                                          Sigue adelante.


Tracy K. Smith

Tracy K. Smith nació el 16 de abril de 1972.

Es una poeta y educadora estadounidense. ​ Ha publicado tres colecciones de poesía. Ganó el Premio Pulitzer en el 2011 por su colección Vida en Marte. ​Sobre esta obra, Joel Brouwer escribió en 2011: “Smith se muestra como una poeta extraordinaria y de gran ambición. (…) Como toda buena poesía lo hace, Vida en Marte primero nos envía fuera, al frío magnífico de la imaginación y después nos regresa a nosotros mismos, cambiados y consolados.”

Vida y carrera

Es originaria de Falmouth, Massachusetts y vivió su infancia en el norte de California.

Se graduó de la Universidad de Harvard en 1994, obtuvo también un título en Escritura Creativa en la Universidad de Columbia en 1997. De 1997 a 1999 fue becaria de poesía en la Universidad de Stanford. También fue maestra en la Universidad de Nueva York, en la Universidad de Pittsburgh y en la Universidad de Columbia.

En 2005 se unió a la facultad de la Universidad de Princeton, donde actualmente es profesora de escritura creativa. ​

En 2016 Smith fue jurado en el Premio Griffin de Poesía.


  • 2003, “La cuestión del cuerpo”. Editorial Graywolf, (ISBN 978-1-55597-391-9).

  • 2007, “Duende”. Editorial Graywolf, (ISBN 978-1-55597-475-6).

  • 2011, “Vida en Marte”, ( ISBN 978-1-55597-584-5).

  • 2015, “Luz ordinaria”, (ISBN 978-0-30796-266-9).


Calle Princesa, 70 1º

28008 Madrid

Teléfono – 915433139

Cursos de inglés en Madrid. Paraninfo.

Aprender inglés en Madrid con profesores nativos

Bette Davis. Famous people in English. Personajes famosos en inglés. Fotos.

Bette Davis biography

The elder daughter of Harlow Morrell, a lawyer, and Ruth (Favor) Davis, she was christened Ruth Elizabeth, but was called Bette as a child and kept the name throughout her career. Davis was born in Lowell, Massachusetts, on April 5, 1908. After her parents divorced in 1916, she and her sister Barbara moved frequently throughout New England while their mother pursued a photography career.

Both girls attended boarding school in the Berkshires and high school in Newton, Massachusetts. Davis graduated from a finishing school, Cushing Academy, in Ashburnham, Massachusetts, with an idea that she might try acting. Not the so-called conventional beauty of the day, she received little encouragement, but in what would become typical Davis style, she made up her own mind and headed for New York City.

Her experience in New York City was not encouraging either. In fact, Davis was rejected when she tried to enroll in the famed acting school of Eva Le Gallienne, noted actress, director, and producer. Le Gallienne told her to study some other field. Undaunted, Davis was admitted to the John Murray Anderson’s drama school instead. She got a role with George Cukor’s stock company in Rochester, New York.

For the next four years, she hung around New York City and the Cape Playhouse in Dennis, Massachusetts, where she worked as an usherette in between playing bit parts. Her first major role was in an off-Broadway production of The Earth Between (1928). After a brief tour in The Wild Duck, Davis reached Broadway. The comedy Broken Dishes opened in November of 1929 and ran for six months. That led to a 1930 production of Solid South, which led to a screen test in Hollywood. She failed the screen test.

Critics who viewed Davis’s 1930 screen test at Goldwyn studios said she had no audience appeal. So, she tested at Universal and was hired, even though it was said that studio boss Carl Laemmle also didn’t think she had appeal. However, she was cast in two films in 1931, Bad Sister and Seed. The critics ignored her in both.

With her strong resolve about to cave in and force her to leave Hollywood, Davis got a break when George Arliss offered her the part opposite him in The Man Who Played God from Warner Brothers. She won good reviews and a long-term contract. Thus began a succession of films with Warner, most mediocre and unmemorable. But poor as the films were, the talent and unique quality of Davis began to emerge so that critics started to praise her while panning her movies.

Fighting the studio for better roles became a way of life for Davis as she clawed her way to the top of the film world. She fought for and won the right to be loaned out to RKO in 1934 to play Mildred, the selfish waitress who manipulates an infatuated medical student, in John Cromwell’s Of Human Bondage. Suddenly, the world was introduced to a brilliant new actress.

One might have thought that Davis’s career was on the upswing, but Warner continued to cast her in poor quality films. There were two exceptions. In Dangerous, Davis played a failed actress who tries to murder her husband. For this role, she won her first Best Actress Academy Award in 1935. She also appeared with Humphrey Bogart and Leslie Howard (her co-star in Of Human Bondage) in The Petrified Forest in 1936. Growing disgusted with the studio’s offerings, Davis refused any more roles and was suspended without pay. She sued. Warner Brothers and the movie world were astounded; this was not expected behavior of the time. Although Davis lost her battle in court, Warner Brothers apparently got the message for they paid her legal fees and began offering her more suitable roles.

The stature of Davis, the actress, continued to grow. Ty Burr of Entertainment Weekly noted that “Davis was a top box office draw throughout the ’30s and ’40s, and in 1948 she was the highest paid star in Hollywood.” Among her memorable roles in the 1930s and 1940s were: Jezebel, 1938, for which she won her second Academy Award for her portrayal of “a witchy Southern belle” according to Burr; Dark Victory, 1939, which she once told Harry Bowman of the Dallas News was her favorite film; The Private Lives of Elizabeth and Essex and Juarez, also 1939; All This and Heaven Too and The Letter, both 1940; The Little Foxes, 1941; Now Voyager, 1942; Watch on the Rhine, 1943; The Corn Is Green, 1945; Deception and A Stolen Life, both 1946; and the delightful June Bride, (1948) which showed her comic touch.

Despite the praise and awards, by the end of the 1940s, Davis’s career seemed to be slowing down, mainly for lack of good material. But in true Davis style, she came through with perhaps the greatest performance of her career as the troubled, aging star, Margo Channing, whose life and career are being taken over by a cunning newcomer, Eve, played by Anne Baxter in All About Eve (1950). It was a biting satire on the world of the theater. Davis won the New York Film Critics best actress of the year award.

After a number of films in the 1950s, Davis’s career seemed to slow down again. But she was back on top in the early 1960s, with two shockers. In 1962, Davis appeared in the smash Whatever Happened to Baby Jane?, playing opposite Joan Crawford. Crawford played the physically handicapped sister at the mercy of her demented sister, Baby Jane Hudson (Davis), a former child star. It was ghoulish and audiences loved it. This was followed by Hush, Hush, Sweet Charlotte, (1965) with Davis (co-starring Olivia de Havilland and Joseph Cotton) playing a recluse who is haunted by the unsolved murder of her lover many years earlier.

During the 1970s and 1980s, Davis continued to appear in films, mainly on television. As she marched cantankerously into old age, she appeared on many talk shows, delighting her audiences with her feisty, undaunted in the face-of-aging spirit. She was the fifth recipient of the American Film Institute’s Life Achievement Award in 1977, the first woman to be so honored. In 1979, she won an Emmy Award for Strangers: The Story of a Mother and Daughter. One her best features became the inspiration for a number one pop song, “Bette Davis Eyes,” in 1982.

Davis wrote two autobiographies, The Lonely Life (1962) and This ‘N That (1987), the latter to refute her daughter’s (Barbara Davis [B.D.] Hyman) 1985 tell-all book My Mother’s Keeper, which portrayed Davis as an abusive alcoholic. She was also married four times. In 1932, she married Harmon Oscar Nelson, Jr.; they divorced in 1938. Her second marriage was to Arthur Farnsworth, a businessman from Boston who died in 1943. She married and divorced artist William Grant Sherry in 1945; they had a daughter named Barbara. In 1950, she married actor Gary Merrill, whom she met while making All About Eve. They adopted two children, Michael and Margot, and were divorced in 1960.

In the last five years of her life, Davis had a mastectomy, suffered with cancer and had several strokes. She probably was not kidding when she, according to an on-line biography commented, “Old age is not for sissies.” Davis died on October 6, 1989, in Neuilly-sur-Seine, France, outside of Paris. She had just attended the San Sebastian Film Festival in Spain where she had been honored for a lifetime of film achievement. In the late 1990s, her son Michael created the Bette Davis Foundation and awarded American actress Meryl Streep the first ever Bette Davis Lifetime Achievement Award.

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Las Mondas en Talavera de la Reina. Fiestas y acontecimientos en España.




  • Comunidad autónoma: Castilla-La Mancha

  • Provincia: Toledo

Fue declarada de Interés Turístico Regional desde el 28 de Febrero de 1983.

Se trata de una de las celebraciones más antiguas que de España, por su origen romano.

Las raíces de esta fiesta de Talavera de la Reina se remontan a la época romana en un ritual que consistía en la veneración a la diosa Ceres, aunque históricamente se conoce su celebración desde el siglo XV.

Desde siempre fue la fiesta de los nobles, de los artesanos y de todo el pueblo.

Los festejos comienzan el domingo de Pascua con el tradicional Pregón de Mondas por diferentes barrios de la ciudad.

A continuación, se desarrolla una semana cultural en la que es posible asistir a conferencias, exposiciones conciertos, entrega de premios, degustación de productos típicos, etc.

El sábado siguiente, se celebra un gran cortejo por diferentes calles de Talavera de la Reina en el que participan numerosos grupos de dulzainas y folclóricos y que termina en la Basílica del Prado con la ofrenda a la Virgen del Prado y el intercambio de bastones del Alcalde de Talavera con los alcaldes invitados. También se organiza un festival taurino y diversas actividades infantiles (talleres de manualidades, teatro…) en distintos puntos emblemáticos de la ciudad.

Destacan los actos del Pregón de Mondas y el del Leño Florido, este último realizado también en las diferentes plazas de los barrios de Talavera, así como el Cortejo de Mondas, que es multitudinario desde la Plaza del pan hasta la ermita del Prado. Estas fiestas duran una semana o más, y están acompañadas de gran cantidad de actos festivos, conciertos y corrida de toros.

Habla español para conocer España