Fanaim (El gato tuerto, 1984, 28 pages, bilingual, chapbook, out of print). Translated by Chris Allen and the Author. Nine poems: “You,” “For Albert, the Terrible,” “Beauty is in the Eye of the Beholder,” “Chip,” “T’estimo molt, Noia,” “Dolce Far Niente,” “And the Rain,” “Fanaim,” and “In my Labyrinth (The Minotaur’s Game).” A review stated: “Caulfield’s poems deal with everyday life and her environment. They are filled with tenderness, freshness and immediacy.” Alberto Jiménez Ure, El Universal, Caracas, October 26, 1986 | |
 | Sometimes I Call Myself Childhood / A veces me llamo infancia (Solar, 1985, 26 pages, Translated by Chris Allen and the Author. Chapbook, $3.50 plus $1.50 shipping & handling) Contains 12 thematically related poems in Spanish and English: “When I Return to My Childhood,” “Eternal Childhood,” “Amateratsu and Kawa-No-Kami,” “Saturdays,” “I Don’t Forget,” “Joy,” “Again the Remembrances,” “Merci Bien, Monsieur,” “To John Dos Passos,” “Steinbock,” “With Wide Wings,” and “We have to Dream.” |
 | El tiempo es una mujer que espera [Time is a Woman Who Waits] (Ediciones Torremozas, 1986, 70 pages, in Spanish, ISBN 84-86072-42-5) Preface by Juana Rosa Pita.The book is divided in three parts of 25,9 and 13 poems. Out of Print. For more information contact Ediciones Torremozas of Madrid: E-mail. A reviewstated: “The lyricism of Caulfield’s poetry comes from the intensity of the language, its rhythm and cadence, as well as the lucid language that illuminates the images. There is no doubt that this is the work of a poet of great maturity who also possesses an extraordinary esthetic sensibility.” (María Jesús Mayans Natal, Alba de América 10-11, 1988.) |
 | 34th Street and other poems (Eboli Poetry Series, 1987, 52 pages, ISBN 0-932-36708, $5 plus $1.50 shipping & handling). Translated by Chris Allen and the Author. Preface by Jack Foley. Book design by Servando González. Cover painting “Lines Drawn” by Eugenia Tusquets.The book is divided in two parts: I. The Moviola has a Crude Sound System and II. Through the Keyhole of Memories. From Jack Foley’s preface: “It is Carlota Caulfield’s extraordinary ability to remain in that precise state -at once separated and connected, exiled and ‘at home’- that gives her work its special poignancy and joy, its special power. The poems of 34th Street revolve with great richness around themes of memory, exile, love, childhood, dreams. Like Lewis Carroll’s Alice, Carlota seems to have immediate access to another world, a world which she can enter ‘through the keyhole of memories’ or through ‘dream.’ “From “You All Know the Story of the Two Lovers”: Today Eurydice played With the labyrinthine earth And imagined herself Bound to Orpheus’ skin. Imagined herself… Somewhere inside him. Today Orpheus played With his hands And imagined himself Playing a drum Somewhere inside Eurydice’s intermittent city. From “For my Father” You who lived walking over time. Majestic of skin and of soul. You Whom solitude made into a god. I remember your ancestral darkness, Dreaming dreams of what you never hoped for, The roads without final prayers, The accursed tranquillity which cut our wings. I saw you die. It was that morning When I begin to be nobody. |
 | Oscuridad divina [Divine Darkness] (Betania, 1987, 72 pages, in Spanish, ISBN 84-86662-08-7, $7 plus $2 shipping & handling).Introduction by Juana Rosa Pita. Book design by Gregory P. Collins. Cover painting “Le Double” by Leonor Fini. Received the Honorable Mention of the Fourth International Poetry Mairena Award of Puerto Rico, 1983. Seventy six poems, including a Glossary. This is a book about goddesses. The poems reconcile haiku with “greguería”, aphorism with sentence, thus reaffirming roots that are clearly lyrical. From the blurbs: “Oscuridad divina seems to try to recuperate the lost and forgotten past of a series of goddesses whose personalities encompass characteristics that are hidden and forbidden to the present-day woman. This book creates a new mythic reality based on opposing values, in which imagination, sex, passion, ambiguity, evil, love and freedom have a different dimension” (Fuencisla Zomeño). “In Caulfield’s works, it’s important to note the carnal worship of language (…) It’s necessary to recognize that the essential feature of her relationship with language is based on its diversity.” (Francisco Javier Satué) |
 | Oscurità divina (Giardini Editori e Stampatori in Pisa, 1990, 68 pages, in Italian, $ 7 plus $2 shipping & handling). Prologo di Juana Rosa Pita. Traduzione di Rosella Livoli e Carlo Vitale. Cover by Vittorio Minghetti. For this collection of poems, Caulfield was awarded the International Prize “Ultimo Novecento”, Poeti nel Mondo, in 1988. |
