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'
 
             Thus 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. Lucía 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.
 
               Lucía, 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'
 
                 Lucía'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.

LLL, 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.