…at the library, Literary Bondage and those back pages of Poets & Writers, where they list bilingual presses. There is another book that turned out to be there and that I wanted to get, and I have lost my piece of paper. C’était quoi? Something tempting and new that I was going to order from a catalogue and that they turned out to already have.
For the new year (this is the Jewish new year) I had hoped for a new beginning and I got, by random chance, comments on the blocked book manuscript that wrought such havoc on my life.
I confess to just having looked it up and skimmed a bit — you write well. For your conceptual blockbusting: deconstruction, à la Derrida, relies on a reified Cartesian self that can be sullied and broken (= Freud). Most of Latin america does Lacan, not Freud, which has the notion of a plural and situated self (see Kristeva and Black Sun). It’s also a Catholic thing and a Marxist thing, neither of which fits Derrida. Look at Deleuze — What is philosophy. The subject does not exist, it arises from being a position in (there) a discipline or a symbolic order (Lacan’s version). Thus subject POSITIONS are critical, not SUBJECT. If Vallejo ventriloquizes different subjects, it’s because he’s interested in post-Marxist concepts of plural subjects. I’ll stop now. I don’t know Vallejo but have worked with enough LA-ists to ask pointed questions. It’s not non-Western, it’s collectivist Western, which lost in Europe and Anglo-America (Calvinist countries all – “all about me”) which half of France (Deleuze/Foucault/Bourdieu half) remembers, too.
This is Vallejo.
Graniza tánto, como para que yo recuerde
y acreciente las perlas
que he recogido del hocico mismo
de cada tempestad.
No se vaya a secar esta lluvia.
A menos que me fuese dado
caer ahora para ella, o que me enterrasen
mojado en el agua
que surtiera de todos los fuegos.
¿Hasta dónde me alcanzará esta lluvia?
Temo me quede con algún flanco seco;
temo que ella se vaya, sin haberme probado
en las sequías de increíbles cuerdas vocales,
por las que,
para dar armonía,
hay siempre que subir ¡nunca bajar!
¿No subimos acaso para abajo?
Canta, lluvia, en la costa aún sin mar!
I have started paying $30/year for this site, to get the ads off it, and I am going to clean it up. I will be one of the last bloggers.
I have discovered this poet, Silvia Goldman, who turns out to be the author of this piece I read some time ago and liked, as well as the author it is on and the site, Vallejo & Co., that reproduced it.
I have seen that not all professors are as badgered as I, and remember there was a time when I was not, either. I am trying to channel it.
August 2018 marks the quincentenary of the beginning of the Atlantic slave trade.
This is one of the professors who apparently has new, as yet unpublished research on it. Another is David Richardson and he is at the University of Hull. There is also David Wheat at Michigan State (I should have been an economic historian).
We will see this film!
I don’t know whether to submit these poems to The Nation or to Two Lines. I am thinking Two Lines is a good place to send this author, although they want a longer set than what I was about to send off.
There are other journals: Latin American Literature Today, Modern Poetry in Translation, and more, but the first two are the ones I am drawn to now.
I woke up thinking of a poem to write and later while folding clothes thought of another. This is unusual. I should keep them in mind and work on them when I sleep again.
One is about my death row prisoner. I think of him as work and he thinks of me as love. The poem would explore these ideas, including the money-love connection, too. It sounds boring but the rhythm and my brilliant diction would make it into a nice modernist poem in English.
The other, similar in style, is about things. I have jewelry from my mother and grandmother, some of which I am already ready to give to my niece. I’ve got clothes and other items too and in the past they would have been precious to share but now they would be white elephants. Things have lost their value.
I want to stay by myself and meditate, and when I go out see kind people, who also meditate and do other things that enrich their minds. Not battle.
…we submit to LALT, which does not accept simultaneous submissions.
Submissions should be sent to the Editor in Chief at the following address:
Latin American Literature Today
University of Oklahoma
780 Van Vleet Oval
Kaufman Hall, Room 105
Norman, OK 73019-4037
FONT SIZE AND STYLE. All documents submitted to LALT should be typed in Times New Roman, 12-point font with 1.5 line spacing.
SPACING AND SPECIAL CHARACTERS: Please avoid extra spaces and/or special characters between paragraphs as much as possible. Do not add any space before or after a line of text, especially if it is the first or last line of a paragraph.
ARTICLE TITLES. For essays, place the article title at the top of the first page, then place your name on a separate line. A brief deck head (25-40 words) should precede the article, giving readers a clear and concise idea of what’s to follow in the text.
SUBMITTING TRANSLATIONS. For translations, include a brief bio about the author (40-50 words) and a shorter one about yourself (25-30 words), plus a source note about the original (e.g., From Cien sonetos de amor, copyright © 1960 by Pablo Neruda. English translation copyright © 1986 by Stephen Tapscott). If the piece was translated by its author, please indicate this information in a note at the end of the article.
NAME OF DOCUMENT SENT TO LALT. The name of the Word document should be formatted in the following order: Title of the work, name of author between parentheses, underscore, name of reviewer. For example:
El llano en llamas (Juan Rulfo)_Antonia Fernández