I had written this paragraph and thought it was bad, and I later abandoned the paper for lack of time but also lack of hope–based in lack of support or camaraderie, perhaps.
Las fisuras en el sujeto vallejiano, la fragmentación de su corpus poético, las bifurcaciones de su tradición manuscrita, y el enigma de su personalidad son temas entrelazados en muchos estudios. Estos temas son cargados, y no sólo a causa de la pugna de figuras como Georgette o Larrea por definir tanto al autor como el texto, ni por la esperanza de que las llaves de la personalidad del poeta abran paso a una lectura más íntima y certera de la obra. Si se ha querido saber quién era Vallejo o cuál su historia, no es por creer de manera ingenua que la obra refleje al autor y su época sino porque como bien dice Stephen Hart (1998), y el poeta y su obra son enigmáticos por estar impregnados de otredad. ¿De dónde viene esta voz, a la vez tan extranjera y tan de casa? ¿Qué tienen estos textos oblicuos, tan marcados por el desplazamiento, que nos llegan “directamente al corazón”? (Vallejo 1927)
I’m a quick thinker on my feet but a slow/steady researcher and writer. My problems are all about how everyone else wants to work in interval training: push fast for half an hour, then break, then do it again; sweat and strain and suffer and say you hate it but then get a prize, go out and drink/stuff yourself with chocolate/spend. And they say you are immature and lazy if that is not how you work. I HATE PROFESSORS FOR THIS.
I don’t hate them for doing it, but for saying that is how you should do things. They have no joy and no Zen, and they live to condescend to others. I hate them. I really do.
Everything takes time. So many things I dislike doing, I would not mind or even enjoy if not asked to do them in a desperate flurry.
I should really start using actual note-taking software–I’ve converted this blog into a notetaking site when I have another one for that, and the blogs aren’t the most useful format for actual research notes.
Nonetheless, here is an interesting article on Vallejo, that I will read. It is called Vallejo, Semicolonialism, and Poetemporality.
This is another hip course I could give, at an advanced level, with a baby-level that would be a freshman seminar. SPANISH language writing would be the topic, we wouldn’t work on English language writing, or read a lot of Spanglish.
Algunos nombres: Elizabeth Acevedo (“The Poet X” se ha traducido al español), Gloria Anzaldúa, Herrison Chicas (Carolina del Norte, algunos poemas están en español), Juan Felipe Herrera, Martín Espada (a mí me gusta mucho el trabajo de este último).
Algunos más, todos con redes sociales que se pueden encontrar: Raquel Abend Van Dalen, Yosie Crespo, Oriette D’Angelo, Douglas Gómez Barrueta, Kelly M. Grandal, Legna Rodríguez Iglesias, Román Luján, Urayoán Noel, Carlos Pintado, Keila Vall de la Ville.
If I were to do a freshman seminar like that, we’d read plays we aren’t reading in other classes, and do dramatic readings. We’d learn to write abstracts, summaries, and annotated bibliographies; we’d learn how to seriously look things up in the library. I’ll have to keep working on this.
The classic play to read, in this course, would be the Casa de Bernarda Alba. We could contrast it with Da. Rosita la soltera. I’m interested in Mariana Pineda, and there are also the Zapatera prodigiosa and the Amores de D. Perimplín con Belisa en su jardín. I’m also interested in the Maleficio de la mariposa, even, and I’m very interested in the puppet theatre: Los títeres de cachiporra, the Retablillo de D. Cristóbal. And then, for odder things I also don’t teach a great deal, we could look at the Comedia sin título and El sueño de la vida. Así que pasen cinco años I am saving for my other class.
But I was thinking about this as a course about Lorca and flamenco and dance, so there is that to think about, too.
The Ring of Words, the introduction and the section on Spain.
Jarchas, are there good recordings?
Cid, Libro de Buen Amor, Romancero, what recordings are there?
Songs in Lope; recordings of Góngora and Quevedo
Are there recordings of 18th/19th century uses of song in poetry?
Rosalía de Castro, décimas de todas las edades
García Lorca, La argentinita
Songs with Miguel Hernández
Víctor Jara, Lluís Llach, Joaquín Sabina, Silvio Rodríguez, more
I am not sure where to put this but it was on paper / in a dream and it seemed important at the time I wrote it because I could at least think about it clearly. It isn’t new at all.
It said: Vallejo is hard to read because there is no centered subject to guide us and no clear story to follow — he is undoing the transcendental subject and undoing representation. But at the same time he is refuting dehumanization and fomenting ethical self-awareness and engagement with others.
I had intuitions in those days, mixed with visceral reactions that had little to do with school.
I’ve got to create a more efficient way of noting the files I clear, but I don’t want to make the invention of e-bibliography and file systems my center project right now.
Photocopies I am recycling today, great and classic articles:
- Ulises Juan Zevallos Aguilar 2001 on Peruvian avant-garde, a wonderful piece that I love.
- Stephen Hart, César Vallejo y sus espejismos, another really good article, Romance Quarterly (49, 2:111-118, 2002).
I really like all this work and I get frozen on it because of what US academia has been like for me and how I have not managed to withstand its ills. But this work is such a welcoming world.
I am going to write a bureaucratic document I am afraid to write, this afternoon. Doing it is necessary for one thing, and finishing it should improve me. I fear that by doing it I call doom on my head. Actually by doing it I stand up for myself, define myself, distance myself from evil, stand in the light.