Kristin Dykstra

Kristin Dykstra is a writer, literary translator, editor and scholar. She writes about people, places, and culture, with a special interest in motions and intersections amongst Americas. Among other professional recognitions, Dykstra held a 2012 Literary Translation Fellowship with the National Endowment of the Arts and received the inaugural 2014 Gulf Coast Prize for Literary Translation. Her translation of a book by Marcelo Morales, The World as Presence, has been longlisted for the 2017 National Translation Award in Poetry. While teaching in the Department of English at Illinois State University (2002-2014), where she entered as an Assistant Professor and left as Full Professor, Dykstra won the 2007-8 Dean’s Award for Outstanding Scholarly Achievement and a 2005-6 College of Arts and Sciences Teaching Initiative Award. She is Distinguished Scholar in Residence at Saint Michael’s College in Vermont.

Cubanology

Omar Perez
Kristin Dykstra, Translator

The poet Omar Pérez in 2002, while temporarily living in Europe (Amsterdam), began writing in a notebook, which eventually became Cubanology, a book of days. This three-year journey began as a short professional visit that shifts into something less defined when Pérez fell in love with a woman named Cristina. One of his daily entries suggests what the notebook chronicles in general, fusing everyday life into travel—“A memory of a flight, a journey, jour” (August 14, 2004)....

Fall 2018

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Omar Perez
Kristin Dykstra, Translator

The poet Omar Pérez in 2002, while temporarily living in Europe (Amsterdam), began writing in a notebook, which eventually became Cubanology, a book of days. This three-year journey began as a short professional visit that shifts into something less defined when Pérez fell in love with a woman named Cristina. One of his daily entries suggests what the notebook chronicles in general, fusing everyday life into travel—“A memory of a flight, a journey, jour” (August 14, 2004). Along with the common and uncommon vicissitudes of a daily life, the result is a fusion of languages, streams of poetic thought and experience, excerpts from other writings, and the coalescence of an islandic consciousness reminiscent of many-minded Odysseus, if home were heart. The visual material interspersed through Cubanology is of Pérez’s visual art and photographs from that period as well as his residence on the Malécon in Havana.

Fall 2018


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