Contrary to what might be expected, a Canadian literature in Spanish translation already exists and, expectedly, Margaret Atwood is one of the most translated writers. All the novels except Life Before Man, as well as three of her collections of short stories and three of the poetry collections have been translated into Spanish. Her works has received excellent reviews in Spain which have also praised the translators. This article focuses on the author's experience translating Atwood's poetry into Spanish, in an approach which compares the author's own project of translation with that of the other translations of her poetry into Spanish. Being a university teacher and a researcher in Canadian literature, and not a specialist in Translation Studies, the author's approach is necessarily pragmatic and not theoretical. Bearing in mind Barbara Folkart's contention that poetry is a cognitive activity and the multiplicity of interpretations that the poems offer, in which the feminist one is prominent, the author tried to produce a translation which was as close as possible to the original characteristics of Atwood's poetry in its tone, lineation and imagistic dimension. The first steps were the stylistic analysis, which resulted in a rhetorical study of the poems, and then the review of the existing criticism about the poems. The main problems which arose during the translation were related to the political and feminist connotations of the poems. If the political context is crucial in Power Politics, the cultural background is vital in The Journals of Susanna Moodie, although is has been erased in its Spanish version (Los diarios de Susanna Moodie, 1991, by Lidia Taillefer and [Álvaro García). This is not an unusual phenomenon, since translation consists in an often insurmountable paradox which is formulate din the lines by Margaret Atwood quoted in the title of this article: trying to formulate the same idea in two languages which function differently and have completely different cultural contexts.