Templos en erupción

   Not because she is a woman, not because
She is indebted to the Mexican wisdom tradition,
        Not because she is a Buddhist, honorable
            Instructor at Naropa Institute Summer
               Program, but because she is
                     a true poet, this is
                     A rare document.
 
                     Hinojosa Gaxiola
                    is one of the very few
                   writers able to transform
                    Oral transmission Into
                  post-modern eloquence &
                stylistic excellence. I felt this
              the first time I gazed at her words,
 
        only semi-literate in Spanish, her mother
           Tongue, when The Telaraña Circuit,
              Fell into my hands - on W. 22nd.
 
             Street, NYC, at the Tender Buttons
            Salon. I immediately understood that
       Its author arrived from a circuit, indeed un-
          Known to me, or lesser known, almost
                to the point of ignorance. Lucía
 
 
     Explored the vein, the inner channels, the
       Botanic veil, w/o standard reference & with
            a lucidity belonging to the post-punk
              & postmodern & to an extent, to
                   its (unexpressed) desper-
                    ation. I salute her clarity
                         & I salute her heart.
 
 
       “la inundación de la guerra debe liberarse
                       gota
                            a gota
 
                       caen las micro-clepsidras
 
          cada una saturada por un nuevo deseo”
 
         The flood of war must be liberated drop by drop micro-
            Clepsydras fall each one saturated by a new desire
 
        Her compact use of imagery recalls Rilke
              Briefe an einen jungen Dichter, 1929,
                      dichter = poet  in German, but
                               also, dicht to close-
                                     to condense-
 
           and her spaciousness, 'Un coup de des'
          (Mallarmé 1897) but Hinojosa Gaxiola is
               invested in the 21st. Century, in the
                  Re-emergent feminine & in our
                         obligation to at last
                         'lay down our arms'
 
                     to inherit the earth of her
            Mexican roots, the cry of the great
             Mazatec Shaman, María Sabina¹,
                  (1894-1985) documented
                   by Hinojosa Gaxiola's father,
 
                   (Dicen que estamos borrachos, 1974)
 
                       on 16mm, & now
                  at the archives of Anthology
           Film Archives, in NYC. Lucia is traveling,
  Through the inner body, through her matura-
    tion as a citizen of this world & the cosmos &
         As a friend to poets, eternally meeting
              In the cafés, late night  diners &
                       Hidden places, where,
                     as if by chance, she finds
                        Herself & thankfully,
                              Her peers.
 
                 Lucia, in a new context,
 
   “aquí,      hallamos
                     flores
                     que nadie
                     sembró
 
        flores hierbas, flores lapsos, flores neolíticas
         flores entrañas
         fiores hormigas”
 
        There, we found flowers that no one planted herb flowers
               lapse flowers, neolithic flower, gut flowers, ant flowers
 
                   has reaffirmed the
          Organic nature of the word & of
            Creativity itself, in an era, de-
               Termined to control it &/or
                 redirect it to, as PLW²
                        Wld. say, the 
                           'machine'
 
         Lucia's spirit is unbroken as
           She navigates the terrain of 
                    Sound, light, text
                          & dream

En el mapa del quiebre periférico localizado entre el consciente y subconsciente, soñé que podía acceder a una transmisión de video eterna del volcán Popocatépetl activo mientras Giordano Bruno me contaba todos los secretos colectivos ubicados en los laberintos de la memoria. Estábamos sentados en el Iztaccíhuatl, y con sus manos trazaba palabras en el aire, que no eran palabras sino ritos dinámicos silentes que movían a las nubes, a los pájaros, a las rocas y a las bibliotecas psíquicas y en ellas todos los acuerdos kármicos de la humanidad. Giordano iba ingresando cada vez más profundo a esta semiótica intraterrestre y en el centro del magma estaba el futuro, comprimido en el pasado que también especulábamos. El instante mismo en erupción, en la pantalla viva de mi glándula pineal.

In the peripheral break located between consciousness and subconsciousness, I dreamed that I could access an eternal video transmission of the active volcano Popocatépetl while Giordano Bruno recounted all the collective secrets placed in memory’s labyrinths. We were sitting on Iztaccíhuatl, and with his hands he traced words in the air; yet they weren’t words but dynamic, silent rites moving clouds, birds, rocks, psychic libraries, and all of humanity’s karmic agreements within them. Giordano went deeper and deeper into this intraterrestrial semiotics and in the magma’s center was the future, compressed by the past that we also speculated on. The instant itself in eruption, on the live screen of my pineal gland.

Louise Landes Levi, Kyoto 2026

¹ María Sabina: A non literate. she received the Book of Language fr.the 'Principal Ones', deities and spirits, in a ceremony w. the Holy Children (psilocybe mushrooms) to became a curandera, healer and shaman in the Mexarec tradition.

² PLW - Peter Lamborn Wilson  1945-2022: Sombras Traslúcidas (Translucent Shadows), translated by Diego Gerard Morrison & edited by Hinojosa Gaxiola was published by diSONARE, 2021, Mexico City. Reprinted 2026. Grateful thanks to Raymond Foye.

Lucía Hinojosa Gaxiola (Mexico City, 1987) is a poet, artist, filmmaker and performer. Her poetry, films, installations and sound performances explore the friction and disintegration of language  to amplify deeper layers of communication, the transmutation of archives, memory, ritual -  the ecology of sound.

Her poetry books: Templos en erupción (Juan Malasuerte, 2025); The Telaraña Circuit (Tender Buttons Press, 2023), and the chapbook O (Open Sky/Cielo Abierto, 2023). She co-edits diSONARE with Diego Gerard Morrison, an experimental editorial platform from Mexico City publishing bilingual journal-anthologies and books in-translation. Hinojosa Gaxiola’s translation of LLL’s cult classic Guru Punk (NYC, 1999) is forthcoming, along with the film Dream Sequence.