http://revistas.apl.org.pe/index.php/boletinapl/article/view/366/231
22/12/21: Periodismo y humanidades en César Vallejo
Resumen
Se estudió el periodismo de César Vallejo, sus crónicas, en relación con varias nociones de las humanidades que se proponen aquí; humanidades en tanto libros, pueblos, narrativas o post-antropocentrismo. No menos, en la vinculación de aquéllas con el neo realismo (Meillassoux, Gabriel, Harman, etc.); por cuanto, periodista y filósofos, finalmente enarbolan
el giro ontológico. También este ensayo se propuso elaborar, aunque muy inicial, una taxonomía cualitativa de las crónicas; es decir, una no temática o meramente cronológica. El resultado fue, creemos, confirmar la actualidad e incluso virtualidad – futuridad – de César Vallejo como periodista.
Palabras clave: humanidades y periodismo; crónicas de César Vallejo; nuevo realismo.
21/12/21: [Um animal]/ Amálio Pinheiro (trad.)
Um animal
Alcança uma linda flor
Uma palavra escutada
Enterrada entre a poeira
Inabitável por agora
Uma palavra que te possibilitou viver
Em meio à humilhação
E o desamparo
Uma palavra retorcendo-se muda
Dentro do lodo
Dessa folha um fruto o ramo a árvore o mundo
Tudo isso orfandade
Uma palavra saída da tua boca
E contra nosso peito
Dardo e tocha fumegantes
Uma palavra que é deste mundo
Ou de qualquer outro
Embora intensamente vivida
Incandescentemente vivida
Melhor diríamos agora
Uma rede inflamada
Cobrando-te de cabo a rabo
Para sempre
Pedro Granados, A mirada (a publicarse próximamente). Versión de Amálio Pinheiro*
[Un animal]
Un animal
Llega hasta la más bella flor
Una palabra escuchada
Enterrada entre el polvo
Inhabitable por ahora
Una palabra que te permitió vivir
Entre el absurdo
El desamparo
Una palabra retorciéndose muda
En medio del lodo
De la hoja el fruto la rama el árbol el mundo
Todo ello huérfano
Una palabra salida de tu boca
Y contra mi pecho
Dardo y cigarro humeantes
Una palabra que es de este mundo
O de cualquier otro
Aunque intensamente vividos
Incandescentemente vividos
Mejor diríamos ahora
Una trampa una red inflamada
Cobrándote de cabo a rabo
Para siempre
Pedro Granados, La mirada (Buenos Aires: Buenos Aires Poetry, 2020)
20/12/21: Benjamín Chávez por Benjamín Chávez
18/12/21: SENSORY OVERLOAD / SOBRECARGA SENSORIAL A COLLECTION OF POEMS BY SASHA REITER
Nueva York Poetry Press has published Sensory Overload / Sobrecarga sensorial, a collection of poems by the American poet Sasha Reiter, and translated into Spanish by the Peruvian poet Pedro Granados.
In his introduction, Granados writes that “With the poems in this new book, Sasha Reiter takes to another level what he had already achieved in his first collection. Fundamentally, Reiter delves into a kind of intelligence and sensibility –which does not shun humor– in the manner of a Paul Gauguin or a César Vallejo; that is, rather post-anthropocentric. Or, in other words, where the myth is not pausterized, but is alive, gathering people together and fostering a live community. This alone sets Reiter apart from a legion of young and not so young poets, attentive in a unique way to themselves or to an oversized private space. Sasha Reiter’s poems not only make up the Bronx but also –from a cultural perspective and not merely a geographic one– Peru and, likewise, the academy placed together on the stage. They are, first of all, for eating, for countering a vast creative anemia prevailing throughout the entire world.
Introduction by the Peruvian poet Pedro Granados
Sasha Reiter (born in 1996) is a young poet of unusual talent. Despite his age, he is a poet of keen vision, maturity and profound wisdom who possesses the uncommon ability to turn his personal experiences into universal ones. This can be appreciate it in the poems collected in his first book, Choreographed in Uniform Distress/Coreografiados en uniforme zozobra, published in a bilingual edition (English-Spanish) by Artepoética Press. His fine workmanship of the image as well as his particular vision of the surrounding world, make the reading of this book a worthwhile poetic and intellectual adventure. This book has already attracted considerable attention and has received many excellent and encouraging comments from several poets and literary critics, not only for the unique voice he offers us, but also for a singular poetic practice characterized by a mixing of registers and styles.
For example, Carlota Caulfield, Cuban-American poet and Professor in Creative Writing and Latin American Studies at Mills College, wrote that “Choreographed in Uniform Distress introduces a young writer of stunning linguistic energy and maturity. What is outstanding in this collection is the clarity of its imagery and its musicality. Reiter’s voice is attentive, open and sensuous. Whether talking about dreams and memory, everyday e uxperiences or a cellphone obsession, the poet offers us skillful and poignant images. I delight in the poems where elements of our modern world float, sometimes gently and others fast-paced, weaving not only personal, but also other’s experiences into stories. Choreographed in Uniform Distress/Coreografiados en uniforme zozobra is a remarkable debut collection. Reiter’s poems merit a wide audience.”
Regarding Reiter’s first book, the Argentinian poet and literary critic Luis Benítez, has written that “Paraphrasing the author, we can say that words come easily to a poet. However, the quality of those words, the exact combination of them, the play of reverberations, the alternations and modifications of meaning that are produced among the chosen words demonstrate that Sasha Reiter is a genuine poet. Reiter’s poetry is the evolution from the question to the answer, and from that to the next question. The author understands, very precisely, that contemporary poetry is not a system closed upon itself, but very much to the contrary, a tremendous and risky opening place which directs the reader toward the limits of language and even propels him/her beyond them. Reiter is a builder of meanings that, taken together, form a multi-faceted interrogative, questioning the condition of modern man.”
For his part, American poet and Distinguished Lecturer at the City University of New York and Editor of Review. Literature and Arts of the Americas, Daniel Shapiro, has stated: “Sasha Reiter’s poems display authority and pacing and construction as they meander through the idiosyncrasies of daily life. A promising young voice.” And Stephen A. Sadow, literary critic and Professor Emeritus at Boston’s Northwestern University, has written that “Sasha Reiter’s work is deeply rooted in the American tradition, but more in that of its singers than its poets. Reiter shares the feelings of despair and world-weariness of a Delta bluesman or a country and western singer. His poems are like ballads that tell stories reminiscent of the young Bob Dylan, the young B. B King and the young Johnny Cash. There is also a dose of the self-deprecation practiced by American Jewish comedians like Woody Allen and Rodney Dangerfield.”
Born in New York, raised in the Bronx, the son of an Argentinian father and a Peruvian mother, and having attended a public school with a predominantly Latino and Jewish population, Sasha experienced firsthand –according to his own words– “the metaphorical otherness of being both Latino and Jewish.” On this level, his poetry is the reflection of both his personal experiences as well as the expression of his political and social beliefs regarding the symbolic, and sometimes very real, walls that divide and separate peoples of different backgrounds, cultures, and mindsets.
With the poems in this new book, Sasha Reiter takes to another level what he had already achieved in his first collection. Fundamentally, Reiter delves into a kind of intelligence and sensibility –which does not shun humor– in the manner of a Paul Gauguin or a César Vallejo; that is, rather post-anthropocentric. Or, in other words, where the myth is not pausterized, but is alive, gathering people together and fostering a live community. This alone sets Reiter apart from a legion of young and not so young poets, attentive in a unique way to themselves or to an oversized private space. Therefore, today and in the projection of this poetry toward the future, we do not find utopias or dystopias in a humanistic way; but, instead, a plunge –with eyelids wide open– toward another instance or condition of language: a knife which cuts flesh, seasons it slowly and then hands it out. Sasha Reiter’s poems not only make up the Bronx but also –from a cultural perspective and not merely a geographic one– Peru and, likewise, the academy placed together on the stage. They are, first of all, for eating, for countering a vast creative anemia prevailing throughout the entire world.
16/12/21: El Trilce de Granados/ Luis Martín Valdiviezo Arista
Una lectura heterodoxa de la obra de Vallejo que nos permite redescubrir el humor y el entusiasmo por la vida (junto al sufrimiento) del poeta a través del enigmático y paradójico Trilce (1922). Granados afirma que el contacto de Vallejo con la modernización urbana y los rituales populares de los callejones de Lima (donde afroperuanos, mestizos y asiáticos; obreros, estudiantes, comerciantes e intelectuales pobres; reían, bebían, comían y bailaban por días unidos por el embrujo de la marinera) lo impactó profundamente. Esto se muestra en un segundo plano ya en los Heraldos Negros (1918) y en Trilce en el primer plano, al punto que la resbalosa seria el ritmo de fondo de este último poemario.
Para Granados, Vallejo se sumaria a este mundo moderno y criollo con su mirada y sentimiento andino (heliocéntrico e inkarrista) enamorado de la adolescente Otilia Villanueva Pajares. En Trilce, lo social, lo político y lo erótico, así como lo andino, lo hispano y lo afroperuano se entremezclan y democratizarían a ritmo de jarana criolla. Desde esa simbiosis revolucionaria, luego en Paris, Vallejo dialogaría con el mundo. Granados nos ofrece una interpretación erudita y desenfadada que nos invita a volver con una sensibilidad más abierta a los textos del poeta.
15/12/21: IMAGINARME EL MAR
14/12/21: Trilce cuarenta y cuatro
Sol contra mi ventana
Potente y luminoso
Solo
El de este piano
Arrimante
Como diría Vallejo
En Trilce cuarenta y cuatro
Piano oscuro
Qué otras palabras
Para este Sol
Desnudo
Calato, en el Perú
Arrimante
Él mismo
Arrimado a mi ventana
13/12/21: Trilce: “el sujeto del acto”
Resumen
Tomamos un poema en prosa de nuestro autor, “No vive ya nadie”, y lo cotejamos con Trilce. Lo que encontramos es que aquel “sujeto del acto” –frase-broche de dicho poema en prosa– resulta transversal a toda la poesía de César Vallejo y, en específico, dialoga de modo muy revelador con el poemario de 1922. En el sentido de encarar sobre la naturaleza o el tipo de “acto” que en ambos textos se ventilaría; tanto como, asimismo, sobre el quién del “sujeto” allí presente. Todo esto puesto en debate con el canon crítico; muy en particular, con el “modo brasileño” –Oswald de Andrade, Haroldo de Campos y Amálio Pinheiro– de leer al peruano. En síntesis, hallamos que al poemario Trilce lo constituye una escena (“acto”) virtual y un sujeto tanto virtual como colectivo (articulado en archipiélago); “acto” y “sujeto”, de modo semejante a un mito, previos a toda experiencia. Escenas u hologramas en vías de constituir un aporte ontológico y de mediación conceptual amerindia con el resto del mundo.
Palabras clave: Poema en prosa de Vallejo; Trilce y Brasil; sujeto poético en Trilce.
Granados, Pedro (2021). Trilce: “el sujeto del acto”, en: Trilce 100 anos. Amálio Pinheiro e Pedro Granados (editores). REVISTA CIRCULADÔ, Ano IX, No 12. 16-34.
