Fabre uses brutal irony—an irony that operates through reiteration and self-criticism—to reflect on the transformation of Sor Juana into academic and literary merchandise. [Fabre medita con sorna brutal—una sorna que funciona por reiteración y es autocrítica—sobre la transformación de Sor Juana en mercancía académica y literaria.]

Luis Felipe Fabre knows the power of fantastic literature, its ability to invoke ghosts of uncomfortable subjects, urgent protests and darkly comic desires. Do you like horror movies? Well, this book of poems should definitely be on your bookshelf. [Luis Felipe Fabre conoce el poder del arte fantástico, su licencia para invocar fantasmas de temas incómodos, denuncias apremiantes y cómicos oscuros deseos. ¿Les gusta el cine de terror? Bueno, este poemario debe estar en su librero ya.]

... make[s] the case that literature is a conversation that never ends and that can be added to across languages, classes, genders, places and times. They remind us why the convention in writing about works of literature is to refer to those works in the present tense [...] because such writing unfolds in an eternal present, remaining relevant, ongoing, and interactive every time a reader chooses to read it.

As a conduit for future translations of this caliber, Señal is a sign of hope for English readers, though Fabre’s poems likely approach the pinnacle of such an endeavor.