Angel of History (1994), was chosen for the Los Angeles Times Book Award. Her works include the famed poem The Colonel (The Country Between Us). She is also a trustee for the Griffin Poetry Prize. Her articles and reviews have appeared in The New York Times, The Washington Post, The Nation, Esquire, Mother Jones, Boston Review, and others. Her fourth book of poems, Blue Hour, was released in 2003. Other books include a memoir, The Horse on Our Balcony (2010, HarperCollins); a book of essays (2011, HarperCollins); a memoir about her time in El Salvador, What you have Heard Is True (2019, Penguin Press); and a fifth collection of poems, In the Lateness of the World (Bloodaxe Books, 2020). In October 2019 What You Have Heard is True was named a finalist for the National Book Award for Nonfiction. Her 2019 book What You Have Heard is True: A Memoir of Witness and Resistance won the 2019 Juan E. Méndez Book Award for Human Rights in Latin America. Readings and translations Among her translations are Mahmoud Darwish's Unfortunately, It Was Paradise: Selected Poems (2003), Claribel Alegría's Sorrow (1999), and Robert Desnos's Selected Poetry (with William Kulik, for the Modern English Poetry Series, 1991). She has given poetry readings in France, Spain, Germany, Italy, Russia, Czech Republic, Slovakia, Bulgaria, Romania, Lithuania, Belarus, Finland, Sweden, Republic of South Africa, Zimbabwe, Libya, Japan, Colombia, Mexico and Canada. Her poetry books have been translated into Swedish, German and Spanish. Individual poems have been translated into more than twenty other languages. Writing perspective Although Forché is sometimes described as a political poet, she considers herself a poet who is politically engaged. After the publication of her second book, The Country Between Us, which included poems describing what she had personally experienced in El Salvador at the beginning of the Salvadoran Civil War, she responded to controversy concerning whether or not her work had become “political,” by researching and writing about poetry written in the aftermath of extremity in the 20th century. She proposed that such works not be read as narrowly “political” but rather as “poetry of witness." Her own aesthetic is more one of rendered experienced and at times of mysticism rather than one of ideology or agitprop. Forché is particularly interested in the effect of political trauma on the poet's use of language. The anthology Against Forgetting was intended to collect the work