ALTHOUGH I HAVENT'T
COME PREPARRAED THE POETRY AND ANTIPOETRY OF CHILE |
por
Dave Oliphant
For a nation of only 13 million inhabitants, Chile has the distinction of being the birthplace of at least five world-renowned poets, two of those, Gabriela Mistral and Pablo Neruda, winners of the Nobel Prize for literature. A third poet who has been touted as deserving of the Noble Prize is the 84-year-old self-proclaimed antipoet, Nicanor Parra. The concept of antipoetry as prescribed by Parra -"You can do anything in poetry"; "in sincerity lies the danger" and "truth is a collective error" -owes something of its iconoclastic outrageousness to an earlier Chilean poet, Vicente Huidobro, who declared that "the poet is a little God" and "an adjective, when it doesn't give life, takes it away.". Following both Huidobro and Parra, a fifth Chilean poet, Enrique Lihn, carried on the antipoetry tradition by attacking both his medium and himself as the messenger, asserting that poetry is "a big pile of muck stirred by chance" and the poet is "a rotten little rhetorician." Despite what may seem an overly negative and therefore limited approach to the making of a poem, Chilean poets have produced in the antipoetic mode some of the most provocative and original writing of the last half of the twentieth century.
The present selection of work by a handful of Chilean poets is hardly representative of the wide range of styles and techniques employed by writers up and down their long, thin, and highly-varied land. Only one of the poets, Francisco Véjar, exemplifies a more romantic tradition that has always existed in Chilean poetry and perhaps has drawn its inspiration most fully in recent times from the work of Jorge Teiller, who, like Neruda and Parra, was a product of the country's rainy southern region. But the emphasis here, necessarily, is on the more antipoetic style, which has, through the influence of both Parra and Lihn, had such a profound impact on the younger generation of Chilean poets. The first poem offered here is an early work by Enrique Lihn, which was only discovered in 1998, ten years after the poet's death and some 45 years after its original composition. Lihn's "Portrait" is clearly a self-portrait, and even though its writing antedates the publication of Nicanor Parra's defining collection of Poems and Antipoems in 1954, this early poem indicates that Lihn was well aware of the work of Parra, which had begun its influence from the time of his first published collection in 1937. Already apparent in Lihn's self-portrait is his characteristic belittling of himself as a person and poet, which may remind one of Parra's declaration in his "Warning to the Reader," from Poems and Antipoems: "I`m proud of my shortcomings." Lihn may not exhibit the same type of humorous pride as Parra, but he certainly shares with him and Huidobro a sense of the poetic power of an anti view, of being a "little God" of an "exiled domain," of being "joyful in his grief." (For more of Lihn's poetry, see issues number 1 and 2 of The Dirty Goat.)
The antipoet of Chile is, by definition, a poet who both takes his writing seriously and yet can poke fun at his own foibles. This is demonstrated repeatedly in Nicanor Parra's longest and in some ways most ambitious poem, his over 400-line elegy in memory of his classmate and fellow poet, Luis Oyarzún. Like all of Parra's seriocomic antipoems, his homage to Oyarzún - first published in December 1997 in the Chilean newspaper El Mercurio- contains words and phrases difficult to render in another language, beginning in this case with the title, which plays on a speaker's traditional disclaimer that he has not come prepared to give a speech but then proceeds to talk on and on, in love with the sound of his own voice. Here, as elsewhere, Parra inserts additional letters into certain words -in this case "prepared"- in order to form something of a pun on his own name. Similarly, he adds the letter "i" to the word "particular" for punning on the verb "culiar," one of the Chilean "f" words. Another instance of Parra's playfulness is when he changes the name of the teacher training or pedagogical school at the University of Chile by adding an "i" and an "a" to "peda" to form the word for "stone." These are examples of Parra's methods for satirizing both individuals and institutions, even as, by contrast, he eulogizes a man who distinguised himself as a university teacher and administrator.
Parra's more serious side is illustrated by his wide reading, which takes the form of allusions to Greek and German philosophy, Chilean literature (naming, among others, Gabriela Mistral, Enrique Lihn, Jorge Millas, and Enrique Lafourcade), and Shakespeare (Hamlet, which, along with King Lear, Parra has brilliantly translated for the Chilean stage). In addition, Parra's poem touches on such contemporary issues as ecology and pollution, the population explosion, politics (seeing all forms of government as dictatorship; asking whether a return to socialism would make any difference), economics (proposing the Mapuche Indian of Chile's system of minimal subsistence), sports (both soccer and "Collaborative Sonnets"), and religious belief and practice. Throughout the 46 sections of his elegy, Parra playfully manipulates language to achieve a running commentary on what he called in his first volume "The Vices of the Modern World". In his middle 80s the antipoet continues to create lines that reveal the hypocrisy beneath our contemporary word and deed, summarizing much of the period since the 1930s. The antipoet even manages to look into the future to predict "What Will Happen in This Next Century" when he sees human life cloned, individuality eliminated in terms of no more private coffins, and his own creation, a Chilean vagabond-wit, the Christ of Elqui, elected as his country's president. Parra's homage to Luis Oyarzún also reveals how rooted his antipoetry is in popular culture, as he alludes in the stanza entitled "What You Hear Ladies & Gentlemen" to a familiar refrain about Father Gatica who doesn't practice what he preaches, unlike Oyarzún, who practiced but didn't preach.
The younger poets of Chile have been deeply affected by Nicanor Parra's irreverent manner and his willingness to speak on any subject, especially through the most mundane objects or activities. This is especially evident in the work of two women poets, Heddy Navarro Harris and Carmen Gloria Berríos. Both illustrate the antipoetic mode through their very direct and witty use of language. As Parra recommends, the language of poetry should not be unlike what the reader speaks, or as Huidobro before him advised, no adjectives that overkill. Harris limits herself to a simple, concise analogy to make her single point on love, while Berríos can work with food and flavor as a way of discussing other timeless matters like transcendence and revenge.
Tomás Harris and Diego Maquieira also speak as the reader speaks, although they may be talking of topics that are further from the reader's immediate experience. Harris (no relation to Heddy Navarro) goes back to the period of the Spanish conquistadors for his subject matter, but his timeless theme, like that of Berríos, is revenge, which recalls for me William Carlos Williams' 1925 "DeSoto and the New World." The witty ending of Harris' poem is different from the wit of Parra, as is the narrative style Harris employs. Both Harris and Maquieira have in fact created their own approach, yet have taken a page from Parra by finding a way of doing anything in poetry. Their poems include video games, Phantom jets, gorillas, Renaissance paintings, movie stars, and historical figures from the mafia and the Spanish conquest and Inquisition. Like Parra, they satirize contemporary society, but rather than attacking directly, Harris and Maquieira tend to do so through scenes unassociated with modernday Chile but drawn from other places and earlier eras. Nonetheless, the parallels with political developments in Chile are undeniable, although Maquieira's dark, futuristic allegories may be difficult to decipher for those who did not live through the censorship of a military regime. Maquieira's reference to liberty should remind readers, however, that Chile, over time, has enjoyed the longest tradition of democracy among Latin American nations.
Political difference has dominated the news from Chile since the period of Allende's minority government, and although the country is prospering as never before, poets like Harris and Maquieira take a dim view of Chile's present and future. The effects of dictatorship still linger in their poetry, making it more obtuse than Parra's antipoetry. Rarely do these two younger poets sound a hopeful note. By dramatic contrast, Francisco Véjar's poem is romantically optimistic, which demonstrates that even in Chile there are still poets who believe that the dreams and bridges they offer are not impossible.
ALTHOUGH I HAVEN`T COME PREPARRAED
traducido
del español por Dave Oliphant
WHAT I FEARED WOULD HAPPEN HAS
The
speakers who have gone before me
Don't know
THE ONLY THING I DO KNOW
Is
that I am in debt to Luis Oyarzún
The
one in a million essayist
THE FIRST IMAGE THAT COMES TO OUR MIND
When
we say Luis Oyarzún
HE WAS CAPABLE OF SPEAKING OF ANYTHING
Even
soccer
LITTLE FRENCH ILLUSTRATED DICTIONARY
We
called him that with great affection
The
truth is that he knew more than all of us put together
Not
to mention Jorge Cáceres
BARROS ARANA NATIONAL INSTITUTE
........................ 3535 St. Domingo
Decade
of the 30s
To begin with we couldn't even afford to drop dead No wonder they called us the Immortals
AND THINGS STARTED TO HAPPEN
The
dictatorship of Ibánez
He
was often seen
I
have been ordered to liquidate poetry
HIS SOUL FRIENDS
Lafourcade
IN POLITICAL MATTERS He
is remembered for his eclectic ideas
It
would be unjust to say that he fell
Is
there anyone in Chile I ask myself
I WOULDN'T WANT TO LET THE TRAIN GO BY
Without
recalling an artifact
They're all dictatorships my lovely friend:
We
are only permitted to choose
SOMEBODY IS SPREADING THE RUMOR
That
in the library of Luis Oyarzún
Maybe
that's the reason
But
you tell me in all honesty
Regardless
of the system
BORN ADMIRER OF SAN CRISTÓBAL HILL
He
would climb it up & down
Often
he would suddenly stop
Even
more: Raise
your hands
IT BOTHERED HIM
He
turned red as a tomato
Everything
little grows:
Everything
little grows:
Oh
Susanna
What
a clueless bunch!
THOSE TIMES
We
all went around like lunatics
Aside from Enrique Lihn of course
WHEN WE APPROACHED TO CONGRATULATE HIM
Because
his predictions had proven true
Erect
me a monument
LUIS OYARZÚN WAS LIKE THAT
Peña
on his mother's side
Mistral loved him like a son
He dazzled us with his wit
AS IF THIS WERE NOT ENOUGH
He was also a Full-time Bohemian
Listen
to the boys of the Bosco
COLLABORATIVE SONNETS One of his favorite sports
CRITICISMS?
One
or two:
I
don't know if I make myself clear:
He has more of earth than of the extraterrestrial
His marmoreal perfection works against him
IT`S CLEAR THAT
Everything
would change in a flash
Quotation
marks:
lf
you don't draft once and for all
YOU WANT ME TO EMPHASIZE THE GOOD? To
leave what's problematic in the dark?
AND THE MOVIE KEPT ROLLING
Radioactivity
& Demographic Explosion
Except
for the Tower of Pisa
RUSSIANS & YANKEES
Nineteenth-century
economics
Little
is gained with Socialism
Hello?
PRACTICING CATHOLIC SO FAR AS I KNOW HE WAS NOT
Which
shouldn't come as a surprise to any
Zeno
STILL HE FOLLOWED THE EXAMPLE OF CHRIST
He
didn't leave a descendant
He
didn't go into exile
HE WAS BORN CALLING HIMSELF LUIS OYARZÚN
The
narre that marked him all his life
ANOTHER FEAT OF LUCHO
Possibly
the greatest of all:
Not
to the marriage license
It's
impossible to be free of the horns
Not
to look any further
YOU WILL FORGIVE I HOPE
My
absolute poverty of metaphors
HOMEWORK
Luis
Oyarzún's genealogical tree
Many
of his relatives
LOVE FEAST IN THE HOME OF ANTONIO OYARZÚN
Former
English teacher in Barros Arana
WHAT GOOD DOES PHILOSOPHY DO
His
students at the Pebblegogy asked him once
One can give classes in Philosophy
One
earns little
CHILE IS A COUNTRY OF PAYING ATTENTION Luis Oyarzún declares in his journal
That
couldn't be more true:
EXTREME OPPOSITES
I
wanted to write the way one speaks
Trained
voice we say today
50 years of a brotherly fight
ONCE THEY FOUGHT IT OUT BAREKNUCKLED
As
a result of the following consideration
Christ
is a robot
Lucho
won battle after battle
We
ended up at the Emergency Room
The
name of the winner:
YOU SEEM LIKE GOD
Luis
Oyarzún told
WHEN JORGE MILLAS DIED
I wrote the following
After
a long and scandalous persecution
The
Dictatorship took away his academlc chair
Jorge
was an owl who couldn't live
We
are unable to express in words
Ladies and gentlemen how long will this last!
And
the impotence to lift one's voice
His
students of a lifetime
RIDICULOUS ISN'T IT?
All
the love letters are
They
wouldn't be love letters if they were not
Love
letters if it is love
YOU WILL WONDER
What
happened to the other Immortals
If
it weren't so late
They
deserve it after all
Those
who yesterday called for the Dictator's head
It makes one weep oceans
I will end up shooting myself
THERE IS A FAIL-PROOF METHOD
For
making an old man work for free
HISTORY WILL ABSOLVE HIM
I
agree
WHAT WILL HAPPEN IN THIS NEXT CENTURY?
Not even Your Lord Jesus Christ of Elqui has the faintest:
Human
life will be cloned
SO WHAT'S THE DECISION?
I've
already answered that question
BUT
LET US RETURN TO LUIS OYARZUN
He
lived 52 years
WHAT YOU HEAR LADIES & GENTLEMEN
Oyarzún
was an ecological infantryman
He
traveled on foot through the countryside
Even
the bicycle
I
don't know what you folks think
Nobody less like Father Gatica than he
IN SUMMARY .............
in short
The
problems many
The
Mapuche System of Economic Subsistence:
Don't you say so . . .
RIGHT ON LUIS OYARZÚN You gave off an ultraviolet light
LET US HAIL IN HIM THE PRECOCIOUS ARTIST
The
adolescent of Plaza Brazil
&
it can't be said he's a bad poet
It's
a very great honor for me
en: revista Dirty Goat (Austin, Host Publications Inc., 1999)
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