Notes on that poem

…that I spent days translating when I should have been doing any number of things.

The post-human.
The critique of nationalist literary histories.
The attempt to locate origins in what has been lost.
The fact that that is the game nationalist literary histories play, appropriating those origins for the national project.
We are taught to identify with that appropriation.
The evidence of those origins — that we know are not the reified origin of national literary histories — are nonetheless all around us, and resist nationalist appropriation (Vallejo knew it, too).
The dislocated feeling of identifying with a landscape filled with signs of this unknowable and unrecuperable past.
Writing about these things now, in globalization and the end of the nation-state.
Ortega speaks of this poetry as “emanating from a wound in the Spanish language” but it is more properly a gap in [the Peruvian gestalt].
Roxosol, the title, refers to the sun in a Golden Age poem but also to the Incan sun.
Inkarrí is here that awareness of the older world, lost to us, but whose traces are still visible.
The speaker is a national subject dissolving.
The poem insists on place, situatedness, but outside the narration of nation. Consciousness of this place means moving beyond binaries like civilization and barbarism, present and past, but also human and non-human.

…I wonder if this has potential, or is good.

Axé.

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1 Comment

Filed under Pedro, Poetry, Uncategorized

One response to “Notes on that poem

  1. Z

    The author says this:

    Tu texto, Leslie, constituye la crítica primera –por fin articulada y de una manera pasmosamente lúcida– a esta etapa de mi trabajo. Carácter o tópico (el del posthumanismo y del Perú, aunque no como nación) que quizá ya existía desde que publiqué Sin motivo aparente (1978) y se perfiló mejor desde el siguiente, Juego de manos (1982); pero que con más nitidez, desde mis últimos poemarios (Soledad impura, Poemas en hucha, Activado y ahora Roxosol) aquellos temas constituyen la columna vertebral de mi trabajo. Obvio, en medio de otros suntemas o motivos para honrar la espontaneidad o el “caos” que supone sintonizar y escribir poesía. Asimismo, entre las novelas breves que he publicado …desde Prepucio carmesí (New Jersey: ENE, 2000)… me doy cuenta que hago visible aquella extra-territorialidad, pero siempre sostenido por algún tono o bemol cultural andino. Mis estudios sobre Vallejo también enfatizan todo aquello, claro.

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