Still Nowhere in an Empty Vastness is a collection of essays and manifestos engaging hemispheric desires and borderland eventualities in the geopolitical imagination of the Americas. The book enlivens a capacious Latinx poetics, spanning to include 16th- and 17th-century imperial accounts, 20th-century images of Mexico pictured by U.S. artists and writers, the neo-baroque pageantry of José Lezama Lima in post-Revolution Havana, as well as contemporary poets Reina María Rodriguez, from Cuba; Mexican fabulist Pablo Helguera; and Chicano multimedia wordsmith Harry Gamboa Jr., from Los Angeles. Explored also are many-sided masculinities, from conquistador castaway Cabeza de Vaca, stripped and disempowered in the New World; Lezama Lima’s “prison baroque” of syntactically queer desire; George Oppen’s craftsmanship manhood; Jay Wright’s Yoruba and Toltec body-doubles, hidden figures of exile and self-foreignness; and the man-child constructed in the media spectacle of modern castaway Elián González. These essays configure a poetics of the Americas, mirror-occasions for reflecting the fear and fantasies prompted by metaphors of occupation, displacement, and counter-conquest. [The vintage musical recording that bookends this interview with Tejada is the "General Pershing March” (1918), performed by the Imperial Marimba Band. The piece was written in honor of U.S. General John J. Pershing, who years earlier had led his forces in what was known as the Punitive Expedition to capture Mexican insurgent leader Francisco “Pancho" Villa (March 14, 1916, to February 7, 1917).]
