In his “Brief History of Bilingualism in Poetry,” Tino Villanueva makes a useful distinction between “bookish” and “lived” multilingualism (709), which roughly corresponds to two traditions or genealogies and practices of multilingual poetry in the twentieth (and possibly the twenty-first) century: the modernist one of Eliot and Pound and the multicultural other of migrant or minority writers. Interestingly, this binary does not operate in Villanueva’s own poetics: In placing himself in a long line of American writers whose first language was not English, such as Gertrude Stein, Louis Zukofsky, and Phillis Wheatley, Villanueva merges the modernist-multilingual with the migrant tradition, thereby undoing the very distinction he had observed in American poetry and creating something new. To live in multicultural America, Villanueva notes, is “to live in bilingualandia,” a neologism whose very construction—the Hispanicization of “bilingual” and “land”—exemplifies the syncretic sensibility of his poetics. Close readings of his early migrant worker poems, “Day-long Day” and “Que hay otra voz” from Hay Otra Voz Poems (1968–1971) (1972) and of a later one, “Convocación de palabras,” show how in Villanueva’s praxis, the bookish and the lived, like Spanish and English, do not merely coexist but meld, to make poetry together.