Pablo Neruda Research Articles

Zonas tipológicas intermedias en Personas de Carlos Fuentes

Aproximación analítica al libro Personas de Carlos Fuentes, publicado póstumamente, en el que se reúnen fragmentos de memorias y semblanzas sobre un conjunto de notables personajes entre los que se encuentran Alfonso Reyes, Luis Buñuel, François Mitterrand, André Malraux, Pablo Neruda, Julio Cortázar, Fernando Benítez, Susan Sontag, Lázaro Cárdenas. Esta obra hace evidente la presencia de elementos propios de distintos géneros (testimonio, biografía, memoria, ensayo.), punto en el que se centra este estudio, desde un enfoque metodológico-analítico, para precisar las consecuencias que la recuperación de estos modelos retóricos tienen, desde el punto de vista ideológico y de los procesos de comunicación.

LOVE PREREQUISITES IN PABLO NERUDA’S POEM IF YOU FORGET ME

The poem is one of Pablo Neruda’s finest collections, containing undivided feelings for someone with picturesque comparisons with life and spiritual elements. The poem depicts a person’s selfless and pure love for another. It is about two choices a boy has given to a girl, whether the girl will forget him or come to him. While the first half of the poem is incredibly romantic and flattering, the third and fourth stanzas paint a very different picture, and they serve as a warning to Neruda’s mistress. The third stanza stands on its own, cautioning Neruda’s lover that if she stops loving him, he will do the same in return. It also begins the first in a string of ultimatums Neruda offers to his lover. The study is conducted by means of descriptive qualitative method, showing social pictures, in this case matters of love. The grand theory used is taken from Steinberg’s triangular theory of love. The results show that harmony in love could be obtained by means of intimacy, passion and commitment.

Constelaciones chilenas de María Zambrano

Este trabajo analiza varios textos escritos por la filósofa española que están en relación con su visita a Chile entre 1936 y 1937 y con dos de las principales figuras literarias de este país: Pablo Neruda y Gabriela Mistral. El análisis pone énfasis en la transformación del pensamiento de Zambrano como resultado de la experiencia de la solidaridad experimentada en este país, y por entrar en contacto con la cultura latinoamericana.

Un Maigret caribeño y postmoderno en El caso Neruda, de Roberto Ampuero

La narrativa El caso Neruda se configura como una novela histórica, pues en ella se recrea un personaje que tuvo existencia real, el poeta Pablo Neruda. Además de eso, es una novela detectivesca, en la que el detective Cayetano Brulé emprende una investigación para descubrir un misterio del pasado de Neruda. De ese modo, en este artículo, se busca estudiar algunos rasgos de la novela mencionada y también de la construcción de Brulé que permiten que se los ubique en el período de la postmodernidad. Así, tanto la novela cuanto el personaje pueden ser considerados como postmodernos, porque se está delante de una realidad contemporánea, en la que Brulé necesita construirse como detective en un proceso diario, para lograr obtener éxito en una América Latina en crisis, caótica y confusa.

Musical, Lyrical, Universal? Neruda’s Amor into Barber’s Lovers

Through its power to translate transnationally, music is often perceived as a kind of universal language, yet this movement must be studied within the contexts of its creation and reception. By considering the “musicalization” of Pablo Neruda’s Veinte poemas de amor y una canción desesperada into Samuel Barber’s The Lovers Op. 43, this essay uses musico-literary theory to offer a new way of reading and hearing meaning across cultural spaces.

La imagen de la Guerra Civil española en la poesía vanguardista: el caso de Rafael Alberti, Pablo Neruda y Oliverio Girondo

The Spanish Civil War is an event that became the subject of many avant-garde works. The lives of poets in Spain were affected by the aforementioned event, most of the Spanish poets continued their life in exile. However, Latin American poets were also affected. Trying to answer the question: What is the reason for this?, we will comment on the influences on Latin American poets to elaborate on this theme. Then, the question of the close relationship between language and identity opens up because language is supposed to be the strongest and most important link between Latin American poets and their European homeland - Spain. In the cases of three poets, from Spain, Chile, and Argentina, we will analyze the similarities and differences between their visions of this war. In the paper, we will focus on the poem Galope by Alberti, Explico algunas cosas by Neruda, and Girondo's story called Interlunio. The reiteration of this theme in avant-garde works demands that we realize its importance and the comparative analysis offers a distinction between the universal and local aspects of its elaboration. That is at the same time the objective of our work - to emphasize the importance of the theme of the war that happened in Spain and to analyze its elaboration by three carefully selected poets.Keywords: The Spanish Civil War, Rafael Alberti, Pablo Neruda, Oliverio Girondo, poem.

Hallazgo y traducción de poesía chilena by Dave Oliphant

Reviewed by: Hallazgo y traducción de poesía chilena by Dave Oliphant Ronald J. Friis Oliphant, Dave. Hallazgo y traducción de poesía chilena. A Contracorriente, 2019. Pp. 208. ISBN 978-1-945023454-5. This eclectic and insightful book is, in its essence, a collection of reflections of a life lived in and in-between languages, cultures, and words. The twenty chapters of Hallazgo y traducción de poesía chilena are comprised of articles, essays, book reviews, journal entries, introductions to translations, and interviews by and about poet/critic/translator Dave Oliphant (Fort Worth, Texas, 1939–). The book’s diverse form matches its content, which centers on twentieth century Chilean poetry, specifically, the antipoetry of Nicanor Parra and the poetics of Enrique Lihn, while also dedicating pieces to lesser known poets such as the Chilean Romantic Guillermo Blest [End Page 285] Gana, Alicia Galaz, Oliver Welden, Francisco Véjar, and more. Each essay contains informative contextualizion of these poets by examining their relationship to other major figures in Chilean poetry such as Gabriela Mistral, Vicente Huidobro, Pablo Neruda, and Óscar Hahn. Another of the book’s strengths is its organic comparatist approach. I say “organic” because of the easy and natural associations between the Chilean poets and the works Oliphant chooses as their complements. Oliphant’s familiarity with Shakespeare, Whitman, Hart Crane, and John Ashbury, to cite just a few examples, broadens and enrichens his readers’ understanding of the poetry of a country that has produced so many more engaging poets than just its two Nobel Prize winners. “Chile, 1965” sets the scene by retelling the author’s first (of many) experiences in the country, while the second chapter, “Visitas con Nicanor Parra,” introduces the book’s main influence and protagonist (or would he prefer “antagonist”?), Nicanor Parra. Oliphant and Parra’s personal and poetic affinities are a touchstone in these essays and the author makes no effort to disguise his preference for Parra’s clear, conversational, and humorous “antipoetry” over Neruda’s serious, highly metaphoric, and adjective-laden verses. Five of the book’s twenty essays are dedicated to Parra’s antipoetry and his presence is felt throughout the others as well. Visitors to Chile become immediately aware of the country’s unique pronunciation and lexicon. When the challenge of translating older, regional chilenismos is coupled with Nicanor Parra’s penchant for wordplay, we get the situation described by Oliphant in the essay on his work preparing After Dinner-Declarations. Take, for example, Parra’s neologism “piedragogía” (“piedra” + “pedagogía”) which Oliphant cleverly renders into English as “pebblegogy.” This chapter, like the one on translating Lihn, is one of the book’s highlights. Another essay, “Un tejano descubre la antipoesía de Parra y la trata de traducir,” also holds interest for translators but would benefit from the inclusion of additional specific linguistic challenges (such as “piedragogía”) and English translations to accompany Parra’s original Spanish verses. “Huidobro y Parra: dos generaciones de antipoetas” is an informative analysis of two of the most influential and lasting voices in Chilean poetry. After a summary of the well-known rivalry between Neruda and Huidobro, Oliphant’s essay compares the techniques, tone and environmental outlook of two antipoets who flatly reject Neruda’s ardent communism and “la retórica nerudiana con sus extensos catálogos de la flora y la fauna” (93). We also find fascinating articles on Parra’s deep knowledge of Cervantes and Shakespeare, particularly Hamlet and King Lear, which he quoted in conversations, often, and in the original English. The chapter on Enrique Lihn’s Figures of Speech deals with poetics, metapoetry, and the poet’s tormented path of anagnorisis from the advantageous point of view of the book’s translator. Oliphant’s desire to understand a passage from “Nada tiene que ver el dolor con el dolor” led him to consult a medical doctor who provided a unique and moving perspective on Lihn’s condition—one that helps us more fully understand both the language and the depth of the poet’s despair upon his death bed. This kind of insight can only come from the often solitary verbal archeology that is the...

Introduction

Introduction Jim Hicks I'VE SAID THIS BEFORE, but it bears repeating. You probably know that neurologists have a term, proprioception, to describe our sense of ourselves and our body, its position and movement in space. What they haven't yet named, so far as I know, is the cultural equivalent to proprioception: our sense of the world, of history, of our place in it and our ability to move and act, within and on it. Yet such an equivalent does exist: we believe our bodies to be whole and immortal, the world to be solid beneath our feet, we know our family loves us, as does God, and we assume that our nation (race, tribe, clan, call it what you will) is where we belong—to it we pledge allegiance. Until, that is, we don't. Locke wasn't off-base when he named solidity as the first of his simple ideas, the corner or keystone for all of the rest. He had less to say about those moments when the earth moves, a family splits, gods die, or our nation declares war on itself. One day it happens. We wake up and find ourselves amputees. Or else we look back and realize too late the border has been crossed, we won't be going back. On that day, a new calendar begins. And sometimes, someday, we also find ourselves anew, someplace else. The work of imagination inscribes both sides of this dark, backward abysm—and in our Fall issue, that's what you're in for. We offer you expressions of pure love, anticipated, as in a poem from C. P. Cavafy, in Alex de Voogt's translation, or actualized, as in Gwen Thompkins's exuberant tale of two young lovers on their way to a new life in New Orleans, or remembered, as in Karen Henry's reflections on the afterlife of Shakespeare's sonnets, translated to screen and stage. We sense the solidity of stone in Pablo Neruda's XXIII, translated by Karen Hilberg, and also in an excerpt from Giacomo Sartori's novel Bug, [End Page 392] translated by a dearly lamented friend, Frederika Randall—yet in both pieces violence is present as well. No surprise, I suppose, that poets today are tracking cataclysm, both in Steven Duong's "Anatomy" and in a series of dangerous swims, with poems from Emily Van Kley, Marcela Sulak, and Emily Schulten. Elsewhere Margaret Lloyd instructs us on how, in the life of poet Jack Gilbert, home was built, not bought; in an essay on the painstaking work of repair, Philip Metres shows us how lives like Alistair McBride's are forced to seek a possible future, after a promised past is taken from them. Cody Kommers rethinks the unthinkable, meditating on the motivations of génocidaires in Rwanda, with lessons for our time as well. What it's like to leave one life behind, and perhaps find another, is explored in fiction by Alanna Schubach and retraced in memoir by Ammiel Alcalay. With "The Color of Death" and "Song of Parting," we give you two stories as dark and lyrical as their titles, the former a translation of Selina Hossain from Bengali by Mohammad Shafiqul Islam, the latter of Lu Min from Chinese by Michael Day. As objective correlative, we offer the photos of Paul Shoul, marking and measuring the divisions present here in our home, Western Mass., and unmistakable everywhere else. By the time you finish this issue, we reckon, you'll already be asking yourself the question we close with, as posed by the title of Marianne Boruch's poem: "Is the Past What's Left in the Glove Compartment"? Could be, but remember, that car was totaled, then towed away. As the man said, all that is solid melts into air… [End Page 393] Copyright © 2020 The Massachusetts Review, Inc.

Poetic Mirrors and the Violence of the Self-Reflexive in Post-Colonial Poetry

Poetic Mirrors and the Violence of the Self-Reflexive in Post-Colonial Poetry Noureddine Fekir (bio) This paper investigates some aspects and implications of self-reflexivity in the verse of modern African poets, poets of African descent, and others such as Pablo Neruda and Mahmoud Darwish, who are associated with resistance to different forms of oppression. Many modern African writers, such as Odia Ofeimun, Syl Cheney-Coker, and Frank Chipasula, wrote poems that were self-reflexive even Cheney-Coker as these poems criticized the political status quo. A pressing question is whether self-reflexivity is a fundamental feature of poetic writing, necessarily born from the inner desire of any poet, to explore the potentials of language while in the process of expressing their thoughts or feelings. This work investigates the use of such a strategy of writing in African poems and then undertakes to construct a genealogy of self-reflexivity to come up with an understanding of the psychological, phenomenological, and political motives behind the frequent resort of poets to this process of mirroring the very being of the text while they proclaim or advocate resistance, to the point of transforming the text into a verbal form of violence against the established political order around them. In this paper, I argue that self-reflexivity, as deployed in the resistance verse written by modern African poets and poets who share the same plight of oppression, is viewed as an integral and organic part of the project of resistance. Such a strategy inescapably springs from the political and intellectual engagement of the poets who see in the aesthetics of poetry a durable and transgressive nature, a perennial tool for warding off and resisting, at times violently, all forms of cultural and physical oppression. Self-reflexivity is defined in this paper as a moment that marks the poem’s recursive nature, where poets may contemplate the medium that they use in a gesture that seems at odds with the dominant tradition of poetic writing, which still persists today and which has generally been intent upon using verse to reflect one’s emotions or describe a specific worldly or metaphysical issue that is of concern to the speaker. However, when poets interrupt the process of representing the world around them or their feelings and veer toward describing the act of writing itself, this can only be viewed as a rhetorical act that counters the signifying nature of [End Page 67] language and offers a moment of reflection that is more akin to the process of contemplating one’s identity as if looking at a mirror. This moment where the poem mirrors itself that speaks about the creative act is one where the poet attempts to construct his identity as a creator of verse which may be viewed metaphorically as a process that is akin to what Jacques Lacan, the French psychoanalyst, calls the “Mirror stage.” For Lacan, this stage takes place when the individual, the infant, for instance, looks at a mirror and recognizes himself by contemplating a looking glass. In Ecrits, he states that “we have only to understand the mirror stage as an identification, in the full sense that analysis gives to the term: namely, the transformation that takes place in the subject when he assumes an image” (2–3). The individual recognizes his identity as coherent when he contemplates himself in a mirror or in a face that refracts the gaze. The self-reflexive moment in poetry is similar to this act, where the poet contemplates his creative process in order to make sense of his identity as a poet. Such a process is necessary to acquire a certain sense of presence, albeit a fake one, because identity construction is always imaginary for Lacan. What is noteworthy is that Lacan articulates such a desire to construct one’s own image within a social framework. In “The Mirror Stage as Formative,” he states that it is “the culmination of the historical effort of a society to refuse to recognize that it has any function other than the utilitarian one and in the anxiety of the individual confronting the “concentrational” form of the social bond that seems to arise to crown this effort...

Political Poetry in the Wake of the Second Spanish Republic: Rafael Alberti, Pablo Neruda, and Nicolás Guillén by Grant D. Moss

Political Poetry in the Wake of the Second Spanish Republic: Rafael Alberti, Pablo Neruda, and Nicolás Guillén by Grant D. Moss

Poetry for a Pandemic

Poetry for a Pandemic Richard Levine (bio) Together in a Sudden Strangeness: America's Poets Respond to the Pandemic Alice Quinn, ed. Knopf www.penguinrandomhouse.com/books/667935/ 208 Pages; Cloth, $27.00 Correction [06.10.21]: Minor typographical errors have been corrected from the print version in this electronic version. If Wallace Stevens were alive today, he might well write "Seventeen Ways of Looking at a Pandemic," the additions to his baker's dozen for viewing blackbirds being for the Horsemen of the Apocalypse–sword, famine, wild beasts, plague. Alice Quinn, editor of the anthology Together in a Sudden Strangeness (2020), gives us eighty-five views, or more precisely eighty-five American poets looking at how the COVID-19 virus has changed our lives. The title is drawn from Pablo Neruda's poem "Keeping Quiet." "The poems in this anthology were gathered quickly," Quinn says in her introduction, "within forty days, beginning March 27." The pandemic and the developing protocols were still very much "a sudden strangeness" to us all at that time, so the poems look and feel like fresh prints in unmarked snow. By necessity, they were made more of first impressions, imagination, and discovery than of knowing. And looking out the window offered by each poet/poem, we can see tracks leading away, approaching, circling, all impressions of our own uncertainty. For all their diversity of form, focus, objective, and personality, each poem feels alive and wrestling toward some as yet out of reach understanding. It seems akin to the research into the COVID virus that we read about so hopefully in the news. The scientists, like poets, begin in observation and arrive at conclusions that nonetheless often pose more questions than answers. Good writing is often characterized as making the ordinary extraordinary. And while the writing here is consistently fine, many of the anthology's poems strive to express a longing for the ordinary to again be ordinary, or as least the way our lives were. "I want to go back to who I was," pleads Dennis Nurkse, in "Conversation Behind the White Curtain." "The house with a beehive in the pines, / the brook breaking all night over stones. / ... I want to go back to being a body. A voice with eyes." Similarly, in John Freeman's "Cards," a man calls his wife to a window to "see a couple across the way / playing cards at their dinner table." Watching, he envies their casualness, their contentment, the seeming ordinariness of their lives; "oh, I see them most nights" his wife tells him. "They / eat dinner and then move over to play cards. They laugh / and laugh." In Joshua Bennett's "Dad Poem," a father-to-be is deprived of the always extraordinary yet ordinary experience of seeing your tadpole-sized child's first sonogram image. "But I'm the father," he insists, when a nurse bars him from following his wife to the examination room, saying "No visitors allowed." Alone, he appeals to his as yet [End Page 24] unborn child, "What can I be to you now / smallest one, across the expanse / of category & world catastrophe, / what love persists / in a time without touch." In "The End of Poetry," Ada Limón also acknowledges the absence of touch as a characteristic of our pandemic lifestyle. There is perhaps a hint of Wordsworth's "The World is Too Much with Us," in the twenty lines in which she inventories the earnest but inadequate ways we try to occupy or distract ourselves from our sheltered-in lives. Seventeen times she cries, "Enough," in response to all the efforts to evade boredom and the frustration of experiencing too much closeness and remoteness at the same time. Even language, or perhaps especially language, fails to get at the problem, until, in line twenty-one, she asserts: "I am asking you to touch me." In the villanelle "In My Heart I Cannot Accept it All," Susan Kinsolving advances and defends the idea that we can and must restore the ordinary to the ordinary. "Forgive yourself for thinking small // ... it's the little stuff that brings delight: / a book, a drink. Keep thinking...

Interventions: An Interview with Luis Alberto Urrea

InterventionsAn Interview with Luis Alberto Urrea Frederick Luis Aldama and Luis Alberto Urrea To write the "Great American Novel" is grand mythmaking. There is no such thing. Or is there? Maybe we've been looking to the wrong places—and to the singular (novel) and not the plural (works). Maybe we need to turn our eyes to Luis Alberto Urrea and his magisterial literary corpus. In the seventeen books and counting that border-cross bountifully across all genres, styles, and techniques, Luis sings the Latinx body electric—and this across the hemispheric Américas. Through and through, Luis is a product of the borderlands, that alchemical space where race, ethnicity, language, culture, gender, you name it, intermix to make something vitally new. Born in Tijuana to a fallen Manhattan cosmopolite, Anglo mom and a working class papá from Sinaloa, Mexico, Luis spent his childhood mostly across the border in and around San Diego. Encouraged by his mom to read and write as much as possible, he grew up, as he states elsewhere, "word drunk." Every Saturday he'd take the two buses necessary to get to the San Diego public library where he discovered already at an early age authors such as Raymond Bradbury, Ambose Bierce, Mark Twain, and Herman Melville. He devoured all literature. Nothing was off limits. During a memorable twenty-seven-hour trip deep into Mexico with his papá (he was worried the young Luis living in San Diego would assimilate to US culture), he was introduced to Mario Puzo's The Godfather (1969)—a book that had a lasting impact and whose inspiration would thread its way into his recent, House of Broken Angels (2018). In college (University of California San Diego for undergrad and University of Colorado at Boulder for grad studies), his appetite and tastes would grow, feeding his imagination with the enrapturing words and worlds built in Spanish by Pablo Neruda, Jorge Luis Borges, Juan Rulfo, and Julio Cortázar. Already a seasoned essay writer for several publications, he also spent more and more time in Tijuana, working with children as a relief worker. His first award-winning book of nonfiction, Across the Wire: Live and Hard Times on the Mexican Border (1993) lassoed a Christopher Award and was named a New York Times Notable Book. As he continued to write nonfiction and venture into fiction and poetry, the accolades and notoriety would continue to pour in. In 1994 he was a Pulitzer finalist for his nonfiction book, The Devil's Highway. And, in 1999 he won an American Book Award for his memoir, Nobody's Son: Notes from an American Life. We see in the sum total of his work that Luis is as comfortable with gritty, hard-edged realism as he is with the meditative and mystical. He's as fluent in the shaping of grand Godfather -sized family epics as he is with a lyrical, laser sharp realist, or self-reflexive voice. His stories richly detail the particulars of places such as Tijuana, Veracruz, and Yuma as well as augustly sweep across the US's expansive grand ecological spaces. On a personal note, the serendipitous discovery of Luis's In Search of Snow (1994) radically altered my life. His protagonist, Mike McGurk, was the first time I'd encountered someone mixed Irish/Latinx like myself. It was the first time I'd encountered a character who felt lost in-between all variety of cultural and ethnoracial spaces. It was the first time that I could find affirmation in this in-between-ness. And, it was my first professional writing assignment that launched a freelance career, while a grad student, as a reviewer for The East Bay Express, among others. Luis's fiction has touched the lives of legions of us. Luis has opened doors for many of us to create and publish our own Latinx stories. In 2000, Luis was inducted into the Latino Literature Hall of Fame and has received a plenitude of accolades since, including recently the American Academy of Arts and Letters Award (2017) and the Tucson Festival of Books Founders Award (2019). Today, Luis lives and writes in Napier, Illinois, and teaches at the University...

“O Partido Comunista e a Liberdade de Criação”: frentismo cultural em tempos de democratização

Este artigo realiza apontamentos para uma reflexão sobre o significado político-cultural dos discursos proferidos pelo poeta chileno Pablo Neruda e pelos brasileiros Pedro Pomar, Secretário de Educação e Propaganda do Partido Comunista do Brasil (PCB), e Jorge Amado, escritor comunista, no primeiro encontro do PCB com escritores. Pouco explorado nos estudos sobre as ações e político-culturais do PCB, este evento aconteceu em julho de 1945, na cidade de São Paulo, durante as mobilizações pela democratização política do Brasil, pela legalização do PCB e pela anistia de Luís Carlos Prestes, Secretário-Geral do partido desde 1943. Os discursos proferidos por Neruda, Pomar e Amado foram reunidos no livreto intitulado “O Partido Comunista e a Liberdade de Criação”, publicado pela editora Horizonte, em 1946. O artigo analisa este documento, talvez o único ou principal registro do encontro, procurando relacioná-lo com o esforço pecebista para tornar a experiência do frentismo cultural, realizado na clandestinidade, numa proposta de programa cultural para o contexto da legalidade. Nessa perspectiva, destaca-se o empenho para reafirmar concepções e valorizar projetos literários desenvolvidos desde a década de 1930 e o significado das militâncias de Jorge Amado e Pablo Neruda na América Latina.

Übersetzen als Entharmonisierungsstrategie

Abstract As a young poet, Hans Magnus Enzensberger sought to garner symbolic capital in the formative years of post-war German literature by translating Pablo Neruda. By arguing that Enzensberger uses a deharmonizing translation strategy to explore his distrust of metaphor, the article maps out coordinates for rethinking the complex relationship between Enzensberger’s poems and translations.

Entrevista com Olga Savary

Pioneira da poesia erótica no Brasil, a poeta (como prefere ser chamada), escritora, jornalista e tradutora Olga Savary há mais de quatro décadas vem trabalhando em traduções de grandes obras literárias, ademais de contar com inúmeros prêmios e reconhecimentos por sua obra própria. É a maior tradutora de Pablo Neruda no Brasil, além de ter traduzido importantes autores da literatura hispano-americana, como Octavio Paz, Carlos Fuentes, Julio Cortázar, Mario Vargas Llosa e Laura Esquivel. Em 1980 recebeu da Academia Brasileira de Letras o Prêmio Odorico Mendes de Tradução, por Conversa na Catedral, e em 1994 o Prêmio Jabuti de Tradução, por Como água para chocolate. Também traduziu indiretamente a três grandes mestres nipônicos do haicai: Bashô, Buson e Issa.Em entrevista exclusiva, a autora, do alto dos seus 84 anos, nos conta, em seu apartamento do Rio de Janeiro, sobre sua trajetória como tradutora com histórias irônicas e espirituosas.

The Winnipeg: The Poem that Crossed the Atlantic

The Winnipeg : The Poem that Crossed the Atlantic is inspired in a personal story rooted in historical events of the Spanish Civil War and the Spanish and Chilean Historical Memory, and interconnected with the involvement of the Chilean poet Pablo Neruda in the evacuation and rescue of 2,350 Spanish civil war exiles, including my own grandfather, from French concentration camps to Valparaiso (Chile), on the cargo ship The Winnipeg in 1939. The website of The Winnipeg: The Boat of Hope, contains background information about the interdisciplinary research project: user generated content with submission of stories from relatives, names of passengers, the e-poem, Neruda’s intervention in this cause, credits and historical references. The Poem that Crossed the Atlantic, is a multi-linguistic sea of networked poetic interactive narratives fed by the stories from posts uploaded to the website. The interlacing of the stories increases with the number of posts, resulting in an on-going community-based poem at the heart of the work. The stories the contributors upload have been translated into French and English. The research process is fully explored and thoroughly enquired in the Published article: Research Paper, (2019) “The Winnipeg: The Poem that Crossed the Atlantic” in Hyperrhiz special issue “Other Codes / Coid Eile: Digital Literature in Context”. Karhio A. & Seica A. (eds.) (Peer-reviewed) http://hyperrhiz.io/hyperrhiz20/moving-texts/2-mencia-the-winnipeg.html.. This work has been used as case study of the project A Transatlantic Take on Translating Electronic Literature: a collaborative project funded by the FMSH/Mellon Transatlantic Program in Collaborative Digital Humanities. The researcher’s contribution has been to investigate the poetic space through digital design and programming while exploring translation as a creative compositional process and a shared creative practice. This is discussed in the co-authored published article “ Mencia, M. Pold, S & Portela, M, (2018 )“Electronic Literature Translation: Translation as Process, Experience and Mediation”, Electronic Book Review. (Peer-reviewed)

Passionate Love in Pablo Neruda’s Poems Drunk as Drunk, Your Feet, and Your Hands

This study aims to analyze Passionate Love in Pablo Neruda’s Poems Drunk as Drunk, Your Feet, and Your Hands. The objectives of the study are: (1) to find out the elements of passionate love in Pablo Neruda’s poems Drunk as Drunk, Your Feet, and Your Hands; and (2) to find out the factors contributing passionate love in Pablo Neruda’s poems Drunk as Drunk, Your Feet, and Your Hands. The theory used by the thesis writer is the theory of Passionate Love by Psychologist Elaine Hatfield and she also applies a qualitative research. Key words: Love, Passionate Love, Intense Feelings, Sexual Attraction.

Effective Learning Strategies in the Homes of Famous Artists and Writers Converted to Museums

<p class="Normal1"><em>Homes of writers and artists that have been converted into museums are powerful frameworks for a wide range of both individual and group learning experiences. The museums have a unique ability to engage the learners on a deeper level by piquing their curiosity, and also by encouraging participative creative activities. The foundation is that of experiential learning, with an emphasis on authentic and content-based learning. Each visit to an artist’s home museum is a springboard for more universal learning experiences, particularly if the learner follows up and builds on memories of the visit, or to the museum’s website. Meta-cognitive development of analytical skills and creative techniques can enrich the learner, particularly when accompanied by both individual and collaborative online activities. Each artist or writer’s home provides a unique experience, which provides an opportunity for the museum’s educational and creative staff to be very creative. </em><em>The homes in this article include those of Pablo Neruda, Alexander Pushkin, Ilya Repin, Carson McCullers, Isak Dinesen, and Juan José Arreola.</em><em></em></p>

Two Wayuu Poems

Abyayala Full of Questions América, I don’t invoke your name. When I bare my heart to the sword, When I endure the bleeding in my soul. – Pablo Neruda I came without permission, The roadway of words Slips away in the avalanche of time And silence. I arrive with my voice broken And my ancient black feet Shackled by memories, My eyes shed the hatchet And the ocean’s ashes In this Abyayala full of questions Crossing the lilac smoke That encircles its uncertain body. Lindantonella Solano Mendoza (b. 1975) is a Wayuu poet, psychologist, educator, and human rights leader in Guajira, Colombia. Author of the poetry collection Kashi de 7 eneros desde el vientre de Süchiimma (2009), she has founded several organizations to support arts, civic action, mental health, and human rights, and has won numerous awards for her literary and activist work. Two Wayuu Poems by Lindantonella Solano Mendoza On Silence’s Rope You are the saliva of a word Bathed in moonlight. – Héctor Rojas Herazo No use getting drunk on what’s lost, The same syllable Shakes with sobs, Shrouded in silence, My mouth is a wall Cracked by death, Trying to calm The guardian of life’s heartless thunder, That ghost whose name we speak In a low voice; In the raucous future Inside my skull where The stones of eternity churn. Translations from the Spanish By Wendy Call Author’s note: Abyayala is the original name given by indigenous people to the lands now called América. CALL PHOTO© ROSANNE OLSON WORLDLIT.ORG 77 MIKTLANZIWATL (LADY OF DEATH) © CARA ROMERO. ALL RIGHTS RESERVED. ...

Autobiographical Writing in Latin America: Folds of the Self by Sergio R. Franco

Reviewed by: Autobiographical Writing in Latin America: Folds of the Self by Sergio R. Franco Francisco Brignole (bio) Autobiographical Writing in Latin America: Folds of the Self Sergio R. Franco, translated by Andrew Ascherl Cambria Press, 2017, xx + 286 pp. ISBN 978-1604979794, $114.99 hardcover. Sergio R. Franco's erudite monograph on autobiographical writing in Latin America represents a significant contribution to the field of lifewriting studies. To date, most critical works in the region have been of limited scope, analyzing the autobiographies of one or two authors at a time. Silvia Molloy's At Face Value: Autobiographical Writing in Spanish America (1991) is the exception, but her study focuses on nineteenth- and early twentieth-century writers, only. Franco's comprehensive volume complements and extends this work, situating Latin American autobiographical texts written after 1950 within long-standing Western and regional traditions on writings of the self. Composed at different points in time, and adeptly and seamlessly translated by Andrew Ascherl, the introduction and four essays that make up Franco's book examine influential autobiographical works by José Donoso, Reinaldo Arenas, Gabriel García Márquez, Carlos Monsiváis, and Julio Ramón Ribeyro, among others. In the critical introduction to the book, Franco defines the autobiographical as a zone of expression that includes a whole gamut of modalities: "not only autobiography in the strict sense but also causeries, diaries, memoirs and reminiscences of various kinds" (xi). Following George Gusdorf's work on autobiography, Franco situates the emergence of this tradition in the Copernican revolution, when human beings first become aware of their singularity and individuality. In outlining the main characteristics of autobiography, the author posits that this type of expression does not restore a preexisting historical subject or reality; it configures, rather, what he terms a "subject of autobiography" (xiii). He compellingly argues that what emerges out of recollections, memories, and reinterpretations of the past is thus an [End Page 400] ambiguous, unstable textual subject, a doubling of the "I," whose connection to referential truth is, at the very least, problematic. In the remaining part of this introduction, Franco sets out to compare the characteristics of the different modes of autobiographical expression. He writes that while autobiography typically recounts the life experiences of an individual in a sequential manner, memoirs are more essayistic in nature, normally focusing in "an era or a section of a life rather than in its totality" (xvi). Lastly, Franco notes that in the diary the time elapsed between experience and inscription is much shorter, so that imperfect, distorted, or resignified recollections of the past are less likely to occur than in strict autobiography. In chapter 1, "The Emergence of Autobiographical Discourse in Latin America," Franco traces the development of autobiographical writing in the region, citing as early examples colonial texts like Comentarios Reales (1609) and Sor Juana Inés de la Cruz's Respuesta a Sor Filotea de la Cruz (1691). The author reminds us that this nascent tradition had continuity during the nation-building and modernist periods, with Recuerdos de Provincia (1850) and La vida de Rubén Darío escrita por él mismo (1913), the autobiographies of Sarmiento and Darío, respectively. Franco highlights that autobiographical writing in Latin America intensified during the first half of the twentieth century, as notable works by Ciro Alegría, Margo Glantz, Pablo Neruda, Victoria Ocampo, José Vasconcelos, and others, were published. Despite this increase, Franco rightly observes that the number of works remained quite meager, at least when compared to more mature Anglophone or Francophone literary traditions. This would start changing at the end of the twentieth century, when autobiographical writing and memoirs became a substantial part of Latin American literary production, especially after the publication of Reinaldo Arenas's influential Antes que anochezca in 1992. After discussing the prolific autobiographical production of the nineties and beyond (citing the likes of Vargas Llosa, Allende, Monterroso, and Donoso), Franco strives to identify and explain the reasons behind this new trend. He first suggests that "the reemergence of bourgeois individualism" may have played a role, adding that capitalism and a variety of forms of oppression have resulted in alienated subjects who often seek to negotiate meaning...