María Miranda is a poet, translator, and scholar of Latin American literature whose work moves between the Baroque and the avant-garde — from the theological wit of Sor Juana Inés de la Cruz to the fractured image-worlds of Surrealism.

She received her doctorate from Yale University and her M.A. from the Universidad de Buenos Aires. Her research addresses Sor Juana and the Baroque era alongside the Surrealist writings of Leonora Carrington and César Moro, and she has published articles in Hispanic Review and Literatura Mexicana. She is presently completing a postdoctoral research fellowship at the Universidad Nacional Autónoma de México.

She is the author of four books of poetry and essay: Romané (2005), Los velos de la derrota (2009), La Creación del Silencio (2014), and Charcas o Parábola sobre el vacío (2021). Her current project is a collection of poems on nightmares, one of which was recently adapted into a soundscape by the sound artist Jorge Martínez in collaboration with the author. Her poetry has appeared in translation in Review 96: “Nuevísimos: New Spanish American Writing” (2018, translated by G. J. Racz) and in A Perfect Vacuum (2023, translated by Jacqui Cornetta).

As a translator, María has collaborated with the British Museum on several projects, among them her 2021 translation of Mapping a New Museum: Politics and Practice of Latin American Research. She has also curated Espacios en miniatura, a collection of avant-garde contemporary Peruvian poetry drawn from her home city of Arequipa.

Her editorial work has been sustained and independent. She co-founded the literary initiatives Dragostea and Los Juegos Verdaderos in Peru, leading design, editing, and the selection of texts, and she currently co-directs Ciclope Ambicioso alongside José Darío Martínez Milantchi.