INJUSTICIA¡FIRST EDITION | 2026Poetry Against Power. Stories Against Silence.Poet, Writers, and ResistanceSOUTH AMERICA’S
Table of Contents03Editor’s Note and Editorial BoardVoices that shape resistance. Defining the team’s editorial missionInjustia¡ is a literary space where South America’s voices rise against silence. Through poetry and short stories, it confronts exploitation, inequality, and oppression — transforming words into resistance, and resistance into remembrance.”04Sweet Buds for Bitter RealitiesIrony of Exploitation. Colonial greed in Latin America.06Echoes of DefianceChallenging oppression and reclaiming identity08Headhunters of Wall StreetCommerce and Conscience. Turning human dignity into profit10Children of the AshesSurvival Amid Ruins. A haunting mirror of poverty and neglect.
Kurt Ruzzel R. PagdangananMaria Aurora TabiosRikka Lauren H. Sy“Mara” Head Creative Analyst, Mister TaylorCatherine Mae Decina Editor's Note Injustia¡ was born out of a need to confront silence. Across South America, poets and storytellers have long carried the weight of injustice—speaking against exploitation, poverty, censorship, and inequality. Their words are not just art; they are testimony, resistance, and remembrance. This magazine seeks to honor that tradition by bringing together voices that refuse to be erased, voices that remind us that literature can be both beautiful and defiant. In these pages, you will find poems that cut through despair with truth, and short stories that expose the hidden corners of oppression. Each work is chosen not only for its literary merit but for its courage to challenge power and illuminate struggle. Injustia¡ is more than a collection—it is a call to listen, to reflect, and to act. May these words stir empathy, ignite awareness, and remind us that injustice, when named, can no longer remain invisible. EDITOR-IN-CHIEFEditorial Board “Ruzzel” Editor-in-Chief Content Director Creative Director Copy Writer “Thai” Analyst, Los gallinazos sin pluma “Rikka” Analyst, Resistencia Anthology “Mela” Analyst, The United Fruit Co.03
Sweet Buds for Bitter RealitiesPablo Neruda’s “The United Fruit Co.” is one of the most striking poetic indictments of corporate imperialism in Latin America. By foregrounding the company’s name in the title, Neruda ensures that readers cannot escape the reality of who is being accused. His poem is not abstract; it is direct, naming the corporations that consumed the continent’s resources and dignity. This boldness sets the tone for a work that blends lyrical beauty with political rage. The irony is sharp: the fruits and commodities enjoyed by consumers abroad—bananas, coffee, sugar—are presented as sweet pleasures masking bitter realities of exploitation and poverty.By Carmela VinoyaThe theme of injustice is woven throughout the poem, as Neruda exposes how multinational corporations exploited land, labor, and governments. He portrays Latin America as a delicate body, violated and consumed by foreign greed. In this way, Neruda transforms everyday items into symbols of oppression. Two lines stand out as encapsulating the emotional force of the poem: “Jehovah gave the world to Coca-Cola Inc., Anaconda, Ford Motors, and other corporations” and “The delicate waist of America was looted and devoured.” These verses combine biting satire with visceral imagery, showing how divine authority and human greed were intertwined inthe destruction of nations. They are not just poetic flourishes; they are accusations carved into history. The historical context of the poem is crucial. Written in the mid-20th century, it reflects the dominance of U.S. corporations in Latin America, particularly the infamous United Fruit Company. This company controlled vast territories, manipulated governments, and contributed to the creation of “banana republics,” where political leaders were puppets of foreign interests. Neruda’s words became a rallying cry against imperialism, echoing the frustrations of workers and intellectuals who saw their countries stripped of autonomy.04
g so, it transforms consumption into conscience. Neruda’s words remain a powerful editorial against exploitation, urging us to question the ethics of modern corporate power and to seek justice in the everyday choices we make. “Banana republics with their submissive blood.” Neruda’s editorial voice is not confined to his era. His critique resonates today in discussions about globalization, labor rights, and environmental exploitation. Modern supply chains often conceal the suffering of workers, whether in agriculture, manufacturing, or technology. The poem’s irony—that consumer pleasures mask systemic abuse—remains painfully relevant. It forces us to confront the hidden costs of convenience and the ethical dilemmas of consumption. What makes “The United Fruit Co.” enduring is its ability to connect personal indulgence with collective suffering. Every bite of fruit, every sip of coffee, becomes a reminder of the labor and exploitation behind it. Neruda’s poem challenges readers to see beyond the surface, to recognize that beauty and sweetness can coexist with bitterness and injustice. In today’s world, where conversations about sustainability and fair trade are gaining momentum, Neruda’s work serves as a moral compass. It reminds us that poetry is not only about beauty but also about truth, and that truth often demands uncomfortable reflection. His verses are not relics of the past but living critiques of the present. Ultimately, “The United Fruit Co.” is a poem that refuses to let us forget. It insists that we acknowledge the bitter realities behind sweet pleasures, and in doin- “Jehovah gave the world to Coca- Cola Inc., Anaconda, Ford Motors…”05
The Resistencia Anthology is a collective cry against oppression, foregrounding the voices of poets who transform language into a weapon of survival and protest. By placing “resistance” at the heart of its title, the anthology ensures that readers understand its purpose: to defy silence and to amplify voices that have long been marginalized. It is not the work of one poet but of many, forming a chorus of defiance that transcends borders. The central theme of the anthology is injustice in its many forms—dictatorship, censorship, Indigenous rights, feminism, and economic inequality. Each poem confronts oppression head-on, refusing to be silenced. Together, they weave a tapestry of resistance, showing that poetry is not merely art but Echoes of DefianceBy Rikka Lauren Sy activism. The anthology embodies the collective struggle of marginalized communities, transforming words into shields and weapons. Two lines capture the emotional urgency of the anthology: “We write so the silence does not consume us” and “Our words are stones thrown against the walls of power.” These verses encapsulate the defiance and determination of poets who refuse to surrender to oppression. They remind readers that language itself can be an act of rebellion, capable of shaking the foundations of authority. “We write so the silenced may speak.”
The historical context of Resistencia is vast, spanning centuries of Latin American resistance. From colonial exploitation to modern authoritarian regimes, poets have long used their craft to challenge injustice. Published in 2020 and edited by Mark Eisner and Tina Escaja, the anthology brings together voices that endured exile, censorship, and violence, yet wielded poetry as a tool of liberation. It situates contemporary struggles within a long tradition of protest literature. What makes the anthology particularly powerful is its collective nature. Unlike a single poet’s voice, Resistencia offers a chorus, reminding us that resistance is communal. The anthology demonstrates that defiance is not solitary but shared, echoing across generations and borders. This collective voice amplifies the impact of each poem, transforming individual cries into a symphony of protest. Where authoritarianism, climate injustice, and systemic inequality persist, Resistencia resonates deeply. Its poems speak directly to contemporary struggles, reminding readers that the fight for justice is ongoing. The anthology is not only a historical document but also a living testament to the enduring power of words against oppression. The editorial highlight of Resistencia lies in its relevance. It shows that poetry is not confined to the past but is a vital tool for the present. By framing resistance as both historical and contemporary, the anthology bridges the gap between generations, inspiring new voices to join the chorus of defiance. Ultimately, Resistencia is more than an anthology; it is a movement. It insists that silence is not an option, that words can and must be used to challenge injustice. For readers, it offers both inspiration and responsibility, reminding us that resistance is not only about survival but about transformation. Its echoes of defiance continue to reverberate, urging us to stand against oppression and to believe in the power of collective voice. The historical context of Resistencia is vast, spanning centuries of Latin American resistance. From colonial exploitation to modern authoritarian regimes, poets have long used their craft to challenge injustice. Published in 2020 and edited by Mark Eisner and Tina Escaja, the anthology brings together voices that endured exile, censorship, and violence, yet wielded poetry as a tool of liberation. It situates contemporary struggles within a long tradition of protest literature. What makes the anthology particularly powerful is its collective nature. Unlike a single poet’s voice, Resistencia offers a chorus, reminding us that resistance is communal. The anthology demonstrates that defiance is not solitary but shared, echoing across generations and borders. This collective voice amplifies the impact of each poem, transforming individual cries into a symphony of protest. Where authoritarianism, climate injustice, and systemic inequality persist, Resistencia resonates deeply. Its poems speak directly to contemporary struggles, reminding readers that the fight for justice is ongoing. The anthology is not only a historical document but also a living testament to the enduring power of words against oppression. The editorial highlight of Resistencia lies in its relevance. It shows that poetry is not confined to the past but is a vital tool for the present. By framing resistance as both historical and contemporary, the anthology bridges the gap between generations, inspiring new voices to join the chorus of defiance. Ultimately, Resistencia is more than an anthology; it is a movement. It insists that silence is not an option, that words can and must be used to challenge injustice. For readers, it offers both inspiration and responsibility, reminding us that resistance is not only about survival but about transformation. Its echoes of defiance continue to reverberate, urging us to stand against oppression and to believe in the power of collective voice. Unlike a single poet’s voice, Resistencia offers a chorus, reminding us that resistance is communal.07
In 1959, the acclaimed Honduran-Guatemalan master of irony Augusto Monterroso, a seminal satirical short story penned “Mister Taylor”. Writing in 1959—the same year as the Cuban Revolution and just five years after the CIA-backed coup against Guatemalan President Jacobo Árbenz—Monterroso aimed to expose the predatory nature of foreign monopolies, such as the United Fruit Company, which routinely exploited the region's resources and manipulated local governments for corporate gain. By reducing human lives to a literal commodity (shrunken heads), he sought to strip away the sanitizing rhetoric of "Western progress" and "foreign aid," revealing the inherent cruelty of a capitalist system that prioritizes corporate profit over human dignity. Headhunters of Wall StreetBy Mara Tabios The central injustice in "Mister Taylor" lies in the predatory nature of Western imperialism and the devastating reach of unbridled capitalism. Monterroso exposes how foreign corporate entities systematically dehumanize indigenous populations, reducing their culture, bodies, and lives into mere commodities for Western consumption. Through this dark allegory, the narrative highlights a chilling structural cruelty where local laws, healthcare systems, and geopolitical conflicts are deliberately engineered or corrupted by foreign interests. Ultimately, the societal infrastructure is manipulated purely to sustain a corporate supply chain, illustrating a system where human life possesses no intrinsic value outside of profit generation and resource extraction.08
The central injustice in Augusto Monterroso’s "Mister Taylor" lies in the predatory nature of Western imperialism and the devastating reach of unbridled capitalism. Monterroso exposes how foreign corporate entities systematically dehumanize indigenous populations, reducing their culture, bodies, and lives into mere commodities for Western consumption. The story reveals a terrifying structural cruelty through this dark allegory where local laws, healthcare systems, and geopolitical conflicts are deliberately engineered or corrupted by foreign interests. Ultimately, the societal infrastructure is manipulated purely to sustain a corporate supply chain, illustrating a system where human life possesses no intrinsic value outside of profit generation and resource extraction. This institutional violence is deeply manifested in the story's character dynamics, which pit the unyielding forces of foreign capital against a subjugated populace. The central figures of Mister Taylor and his uncle, Mr. Rolston, embody the cold, detached nature of transnational exploiters who view human suffering merely as an administrative variable in their quest for wealth. Conversely, the indigenous people of the Amazon represent the collective archetype of the exploited; initially welcoming, they are quickly transformed into expendable inventory, physically and culturally cannibalized by the very trade they enabled. This stark polarization between the elite perpetrators and the dehumanized victims serves as a crucial bridge to the story’s broader commentary on global exploitation. By tracing this trajectory to its ultimate conclusion—where the capitalist system inevitably consumes even its own architects —Monterroso elevates the narrative from a mid-twentieth- century critique into a timeless editorial warning. The allegorical power of "Mister Taylor" remains strikingly urgent today, offering a prophetic mirror to contemporary global supply chains, corporate environmental destruction, and neo- colonial labor practices. By demonstrating that unchecked capitalism is fundamentally unsustainable and inherently self- destructive, Monterroso’s dark satire continues to serve as a vital, bleeding reminder of the human cost embedded within the global marketplace. Commodifying the Corpse: Capitalism, Imperialism, and the Ultimate Human Cost09
A famous urban realist short story and the title of an emblematic short story collection by the renowned Peruvian writer Julio Ramón Ribeyro. Published in 1955, the narrative is considered a foundational piece of modern Latin American Literature. The story follows Efraín and Enrique, two young orphaned brothers forced by their tyrannical grandfather, Don Santos, to scavenge for food scraps in the dangerous garbage dumps of Lima to fatten his prized pig, Pascual. The fragile dynamic shatters when Efraín severely cuts his foot on glass, followed shortly by Enrique falling ill from the grueling labor and toxic environment. Desperate and furious as his pig starves, Don Santos forces the sick boys back to work, triggering a violent domestic climax where the brothers must make a desperate escape from their grandfather's cruelty. Ribeyro sheds light on a harrowing environment where children are stripped of their youth and denied fundamental human rights, including education, safety, and healthcare, to be utilized as disposable economic assets. It is centered on the brutal reality of child labor and domestic exploitation fueled by systemic poverty. The horror of this dynamic is magnified because the abuse is perpetrated by their own grandfather, Don Santos, who subverts familial protection into a ruthless business arrangement. By reducing the boys' value entirely to the waste they scavenge, Ribeyro illustrates how extreme deprivation corrupts basic human empathy, forcing the most defenseless individuals to endure physical ruin to satisfy the blind, capitalist greed of their oppressor. Children of the AshesBy Thai DecinaBy Thai Decina10
Los gallinazos sin plumas Los gallinazos sin plumasThe Featherless Buzzard The enduring brilliance of Los gallinazos sin plumas lies in its stark allegory of social exploitation. By equating marginalized children to "featherless vultures," Ribeyro creates a powerful metaphor for the forgotten youth forced to scavenge through the literal and figurative debris of an indifferent urban landscape. The narrative exposes a brutal hierarchy where human lives are stripped of dignity and reduced to mere fuel for economic gain, offering no idealized illusions about the realities of extreme poverty. Decades after its debut, Ribeyro's masterpiece remains profoundly relevant. It forces us to confront the uncomfortable realities of modern society, where child labor, systemic neglect, and the exploitation of the vulnerable continue to persist in the shadows of urban progress—serving as a timeless critique of the human cost of greed.11
Women Behind WordsIn the making of Injustia, the voices you have read were not only those of poets and storytellers, but also of women analysts who stood behind the pages, curating each work with care and conviction. Their dedication was not simply editorial—it was an act of solidarity, ensuring that words of resistance found a platform where they could breathe, resonate, and inspire. These women carried the responsibility of weaving together narratives of injustice with precision and empathy. They understood that every poem and story was more than literature; it was testimony. By shaping this magazine, they created a bridge between silenced voices and attentive readers, reminding us that resistance thrives when it is heard, shared, and remembered. Their work is a testament to the power of women in literature—not only as creators but as guardians of truth. In curating these pieces, they amplified struggles that might otherwise remain hidden, and in doing so, they reaffirmed the role of women as catalysts for change. Their editorial vision transformed Injustia into more than a magazine; it became a vessel of remembrance and defiance. To the women behind these words, this dedication honors your courage, your persistence, and your belief in the transformative power of storytelling. Injustia exists because you chose to give space to voices that resist erasure. May your work continue to remind us that injustice can be named, challenged, and ultimately overcome when women stand at the forefront of words.