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The Buckeye Leaf stickers on Ohio State University Football helmets are iconic, but 50 years ago they were the start of a trend. According to former Buckeye QB Rex Kern, the 1969
Presented as the fourth part of a “series of experimental borderland novels in verse” that began with The Codex Mojaodicus , Tonalamatl resignifies the titular Nahuatl’s sacred almanac as part of a digital baroque “messycano” aesthetic that leads us past an essentialized ethno-nationalist Aztlán and through a “plastic desert” of “WallMart” in bloom and toward a divinatory realm where genome, codex, and map blur into the promise of “soundsense,” poems as scores for acts and scenes of becoming” “sequence songs | senseplay | translanguaging sounds | rhythmic prophesies.” Also a scholar of borderlands literacies and rhetoric and an activist known for his #TacoLiteracy transnational foodways project, Alvarez approaches poetry as a way of “making space social,” of finding beauty and resistance in everyday, embodied translingual practices and reclaiming (in the spirit of Ofelia García’s translanguaging pedagogy) “an inverted world of frases & prosodies.” Alvarez’s verbivocovisual imagination is often dazzling, yet the moments of the book that haunt me are those when the formal fireworks make room for shadows, resonances, and silences, where the synaesthesias of the displaced are also utopian mindscapes across spacetime’s borders: “beauty of mountain jutting from sea | here | now | eagles & seagulls & nahuas as well / never bloodbyes | never snow.” 30
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