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No potential conflict of interest was reported by the author(s).
Notes
1. Pineda, “Espejos imaginarios,” 143.
2. Emmerich, Literary Translation, 14.
3. Jones and Worley, Routledge Handbook, 243.
4. Toledo, Deche bitoope, 57.
5. Venuti, Contra Instrumentalism, 3.
6. Carmelo et al., Aproximaciones, 157.
7. Lakoff and Turner, More Than Cool Reason, 9.
8. Smithsonian, Guie’ gui’xhi stinu, [Representative Plants], 73–4.
9. Toledo, The Black Flower, 5.
10. Midgley, Science and Poetry, 72.
11. Toledo, The Black Flower, 65.
12. Toledo, Carapace Dancer, forthcoming from Deep Vellum.
13. Henestrosa, Los hombres que dispersó, 64–66.
14. Chiñas, “Isthmus Zapotec Attitudes,” 294.
15. Toledo, The Black Flower, 117.
16. Lakoff and Turner, More Than Cool Reason, 99.
17. Toledo, Carapace Dancer, forthcoming; Deche bitoope, 88–9.
18. Toledo, Carapace Dancer, forthcoming.
19. Call, No Word for Welcome, 41–49.
20. Ibid., 185–6. Call discusses attitudes toward language acquisition at the policy level and its effects on education in schools and the home.
21. Chacón, Indigenous Cosmolectics, 78.
22. Saynes-Vásquez, “Galán Pa dxandí’ [That would be great], 188.
23. Chacón, Indigenous Cosmolectics, 85.
Additional information
Notes on contributors
Clare Sullivan
Clare Sullivan, professor of Spanish at the University of Louisville, teaches language, poetry, and translation. She and her students work regularly on translation projects for the Louisville community. Her collaborative translations of Natalia Toledo and Enriqueta Lunez have appeared in Phoneme Media and Ugly Duckling Presse. Deche bitoope/El dorso del cangrejo/Carapace Dancer, a trilingual version of Natalia Toledo’s 2016 collection, is forthcoming from Deep Vellum.