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Sometimes Life isn’t as Wonderful as Music Makes it Sound.

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I have a recurring dream. It is not the same dream all the time, but a repeated theme. In the dream I am prepared to travel to a specific destination. I know the destination. In the dream, for an unknown reason are vague impediments that keep me from making progress to my destination. As the dream progresses the anxiety of being unable to remove the impediments to my destination is amplified. It is said to dream of obstacles in the way of your destination is representative of a lack of a true path in your waking life. I travel not so much for the destination, but to visit a cultural and emotional landscape seeking opinions, different outlooks, new philosophies, beliefs, and religious orientations. These are all benchmarks to help me triangulate the location of my own unique being. It does not necessarily provide insight into the destination.  ¿Dónde estamos? is a different question than ¿A dónde vamos?

41 degrees 10 minutes 45.21 seconds North     73 degrees 11 minutes 21.98 seconds West Moj Roden Kraj1
(https://www.youtube.com/watch?v=WB84w0vgRzo )

The Slavs have this romantic idea of your birthplace, your Roden Kraj. It not only represents the geographic location that you were born but has a deeper connotation. It represents the materials that you are made of, your experiences and the feeling of being loved by your family. It is the primal place where you were put together in all of your aspects. The emotional and the physical connection creates a deep endless desire to seek the path back to your earthy womb. The slavs sing songs of their birthplace and ballads of their slovenske matka. Songs in which a mother’s love rivals that of the virgin herself.  When people return to their Roden Kraj, burdens are lifted, you are safe, and there is a sigh and a whisper “I am home”.

Childhoods are best experienced in your memory, only when one has had enough time to properly edit those memories, where the details of the remembrance are blurry and far away. This is not to shock the memory into reconstructing the scene in your mind with exacting detail, lest you may painfully remember the parts that you amputated. I view my childhood like an impressionistic painting., To better see the bucolic picture of times past, you must take a step back to gain refinement of form and morphology. However, stepping toward the painting you see the painters brush strokes a reminder that this is an emotionally deficient two-dimensional reconstruction of three-dimensional objects and people. You see detail that looks chaotic, you see dissonance, and chronological confusion of what came first and what was last. To me the close examination is a much more accurate representation of my experience growing up with a mother who struggled with mental illness. All of my childhood memories have a duality, where every event was joyful and simultaneously painful. I can sing joyful songs of my birthplace, but only if I cry while I sing.

It was a sad day when I left home at 17 years old and a happy day when I left. Of the three options my father gave me after graduating from high school, leaving was really the only option. The only choices I really had was the destination. The destinations chosen for my life were unemotionally presented by father as, attend University, get a job, or pick up a gun and go to Viet Nam.  All would be done elsewhere, and all financed by myself. In one way, it was sad and scary, in another, it was liberating, a true passage into manhood. The three destinations offered by my father came from a man that always colored in lines, lived by that obsequious code written by the greatest generation, where men are men, women are women, and everything had its place and time. Luckily, my father raised no fool. Or did my father raise a fool? Prior to this moment my world and all that I knew resided between Staten Island, NY to the south, Mont-Tremblant, Canada to the North, the Atlantic Ocean formed the eastern boundary and the Susquehanna River formed the western boundary. As Sean Taylor a free safety for the Washington Redskins said: “There are four directions: North, South, East, and West. We are going in the fifth direction, which is the direction of stories”. Like the Andalusian shepherd boy, I set out to find my treasure with one suitcase and a set of golf clubs that I won in a card game.

41 degrees 59 minutes 53.27 minutes North   21 degrees 25 minutes 31.57 seconds East Muss es sein? Es muss sein!2

Ice Cream, when you are a child, is a lot like sex when you are an adult. One of the great puzzles of my childhood is why you could not eat ice scream all the time. My parents always answered that question in various ways.  “Too much is not good for you”. “If you eat too much ice cream, it will become mundane, pedestrian; it won’t be as good as you thought it was.” “Too much of a bad thing isn’t good for you, and too much of a good thing is bad for you, moderation is the key to happiness”. Frankly, moderation is the key to boredom. Ice cream is always good even if I follow it with more Ice cream. There are at least 38 flavors, and sex even has more variety. In all my life, since I have been eating ice cream and having sex (not necessarily at the same time) it has never become mundane or pedestrian. Eating ice cream or having sex is the best way to spend 15 minutes, always.

The shepherd’s house

 

There is no evidence, no memorabilia, not even a picture, that I spent the most wonderful year of my life with her. Myriam — Mim, her name has no known meaning.

After I finished my undergraduate and master’s degree, I received a Fulbright grant to spend over a year in Marshal Tito’s Yugoslavia, in the city of Skopje, Macedonia. At that time, it was a underdeveloped province and the poorest of the Yugoslavian states. I can more generously characterize Macedonia as a quaint province that continued to preserve and practice traditional customs and folklore. It is a diverse country where the various ethnic groups moved in and out and in between each other with respectful distance and distrust, Macedonians, Serbs, Bulgarians, Kosovars, Shqiptars, Greeks, Romani, and Muslims. It was a province that had some catching up to do. A smorgasbord of people, food, music, and customs. I arrived having been a student of Russian literature and language and now having to adapt what I knew to negotiate the South Slav culture and language. The only thing common with Russia was their Communist government and some recognizable root words. I wasted no time, got to know a local family, mingled with students, engaged in awkward conversation in various languages about life, philosophy, politics, and the future of our generation, and the future of Yugoslavia. Everyone thought that Yugoslavia would crumble into smaller states defined by ethnicity as soon as Tito died. These conversations were more a reflection of the exuberance of youth than a measured diplomatic and developmental plan to solve the problems that plagued the Balkans for centuries, and with every shot of Slivovitsa we inched closer to a common solution. I quickly supplanted the mundane routine of my western existence with a mundane routine in the Balkans. Each day was research at the Geoloski Zavod and then on to the Center for Foreign Language for an accelerated program to learn the Macedonian language. The foreign exchange students from the US, Germany and Holland were placed in one apartment block of about 4-5 small apartments in Naselba Aerodrome in a southeastern neighborhood in Skopje. These are high-rise apartments in the tradition of archetecture communiste minimaliste, this desription sounds better in french, and gives the impression this architecture was a chic period trend.

archetecture communiste minimaliste

We were all assigned “sponsors”, our “Makedonski majki” our Macedonian mothers, members of the secret police that would follow our movements to be sure that we were not nefarious spies. Later we had the pleasure of meeting our individual sponsors after being arrested, interrogated, accused of taking pictures of a military base, which surrounded an ancient Rome amphitheater on three sides. It was a childish dare, that went very wrong.

It was during the daily routine of coming and going from our Apartment Block that I met Myriam. A tall, beautiful, energetic women with long chestnut hair, an engaging smile that never quit and a personality that immediately put you at ease and invited conversation. Another characteristic of Myriam is she covalently existed between cultures. Rebecca West in the “Black Lamb and Grey Falcon” characterized the slavic heart as believing that the way to make life better was to add goods things to it, this was in contrast to the West which held that the way to make life better was to take bad things away from it. Myriam fully embraced the Slavic heart. This is why most western people, particularly Americans, seek, but never really find happiness, or a true friendship, westerners are always in a process of winnowing away the bad and preserving the good instead of seeking the good things to be more joyful and allowing the bad things to be part of their complex existence. Mim had a way of taking mundane activities and turning them into what felt like a life changing event. Mim and I regularly studied Macedonian together. Previously these lessons felt burdensome, and that western tendency to purge your life of anything painful welled up in an apartment with few distractions and few excuses to escape, except for the Chinese operas broadcast on Radio Tirana. Mim was a welcome mate to this task and I thought just being with her would help me through the lessons. Myriam was excited and often amused by her clever use of new words and her sharp observations of the nuances of the language. She had a heartfelt joy of exploring music and culture of the diverse people. Learning another language and enjoying their music, and understanding their customs was in and of itself not the important point. Her ultimate goal was to learn the language and find common ground to develop friendships. She not only wanted to visit the country and the culture but to wander around the hearts and minds of the people.

One cold winter evening after studying we took a bus to a downtown pastry shop in the Kameni Cid to get some Boza and a pastry with schlag. The comfort and contentment of being with a person with an infectious joy and reveling in the simple enjoyment of a pastry with cream fascinated me. I had the same anticipation a child gets with the promise of ice cream. You begin to map out the journey from acquaintance to friend, friend to lover, where a smile and shared joy turn into a kiss, where a kiss turns into making love, and where making love and the memory of  that journey is continuously being played on a loop in your consciousness, always feeding the flames of expectation. You know the path and the destination. Too much of a bad thing is bad, too much of a good thing is bad, which one is this? does it even matter? how can good be bad? or is the bad  “too much” good? Good must be rationed like ice cream. How do you know when you passed that threshold of “too much”. I have never reached that threshold with ice cream, friendship, or love.

A Orthodox Church, Ochrid

Subsequently we spent much of our time together studying language, dancing the Kolo with the locals to traditional folk music on Sunday in Fortress Park, traveling to quaint traditional villages throughout Macedonia, experiencing local customs, music, food, and folklore. Drinking our share of local wine and slivovitza, hiking in the mountains, and simply communicating with people about their life and philosophies, having become more fluent in Macedonian. I was in the constant state of adding good things to my life. This pushed back the bad and stifled those inner voices. Mim was teaching me how to be fearless. People everywhere were not strange or different, but just trying to be their genuine self and I was learning how to celebrate that fact. I was learning to live joyously, without judgement, accepting people for who they are. It made me realize that I had sex before, but I had not loved before. It was in an old abandon shepherd’s house in Kruševo where we sat down to rest from hiking in the mountains in late winter. There was a gentle and quiet snow falling and we sat without saying anything to one another. Just enjoying the moment. My mind wanting to process this moment as a freeze frame, never to forget, and never to discard. It was a kind of quiet you hear in moments like this; you swear there is a background hum, a low vibration that is the noise that life makes carrying out its involuntary processes. The sound of a universe that is alive. We do not think in words or a language, but in feelings, a gestalt. A feeling that begs to find the right words, the right syntax and the right voice to make it known to someone else. It is difficult to put these feelings, and the nature of the relationship into words, because the whole is greater than it parts, there are emergent properties. This was much more than a friendship and what was the destination?

Our yearlong cultural exchanges were coming to an end. As the end approached our conversation turned to what we were going to do after we fulfilled our academic obligations. Mim was obliged to return to Holland and I to the United States. A mutual promise to reunite in late summer to seek our destination seemed like a plan. I remember the late spring day at the train station in Skopje saying our goodbyes. It was sad moment reviewing the richness of language, culture, food, folklore, feeling of learning and accomplishment we experienced and how this relationship changed me as person. She reluctantly climbed aboard the train that followed the old Arlberg Orient Express route. As the train left the station a void began to open which allowed all the thoughts, responsibilities, and problems from my life that were overshadowed by all the good that had been added over the past year trickled into my consciousness. Incrementally that trickle became a current and subsequently a wave. All those new and wonderful things added to my life, left on the Orient Express for points west.

In a few weeks, I was to return home I would return to a failing marriage and two children, one child born five months earlier while I was in Yugoslavia, who I have never met or even had a picture. My trip to Yugoslavia was to be a family adventure, hoping to revive a relationship that had become moribund. My family did come, and the plan was to stay for 12 months, the reunion in Skopje lasted two 2 weeks. A moribund relationship was obviously dead. I was now just a few weeks from returning to my previous life. A life that was suspended over twelve months ago. What I had experienced and learned during my sojourn in Skopje not only about individual relationships, but also about the vibrancy, the beauty and diversity of the world intensified and underscored the maladies of my current situation. There was a stark contrast between these two relationships and some basic differences began to emerge. You must have the heart of a Slav. You must accept one another as you are and aspire to be no one else. You must believe that friendship is a good thing that can be added to your life. Be prepared to add more good things and have courage to seek the unexplored regions of your emotional and intellectual world. Adding a diversity of good things creates emotional networks and feedback loops that can bring joy and wonderment at any moment and come from different directions. Good relationships are based on a paradigm of complexity. This complexity derives emergent joys and wonderments that could not have been anticipated or predicted, it keeps refreshing itself.  Bad relationships operate on a paradigm of simplicity. In a bad relationship, you aspire and work together to become something more perfect, statuesque, something attainable. That perfection is achieved by reducing the individual to its simplest characteristics, I am a provider, a husband, and a father. The person is isolated from the confounding, the chaotic and paradoxical aspects of their personality and their existence. These are considered flaws, errors in personality, the person must make sense and be logical. This requires you to amputate aspects of your life and personality that are perceived to be the impediments to achieving that perfection, that ideal. Your life becomes deterministic.

About a month after returning to the United States and after having a month of difficult discussion about the future as a family, we were visiting the in-laws. Our discussion lapsed into an argument about our situation. An argument that lasted until the middle of the night when finally, everyone just surrendered. It was time for us to return home which was an hour and a half drive. We set off in the middle of the night, the kids fell asleep, one in the back seat and the baby on my wife’s lap, I savored the quietness and the time to reflect on all that was said. Unlike that moment in Krusevo this quiet was broken by my mind playing with the idea of what the new paradigm might be, what would be the opportunity to realize our promise to reunite in late summer. I ended the thought with a modicum of hope as we approached the city of our home. As most things happen without warning we were plowed into by a car traveling 130 km/hour. He was a soldier rushing to get back to a nearby government airfield. Our Toyota Corolla was bounced by the larger car about 25 meters down the crossroad, and then nothing. I regained consciousness a few minutes after the accident. The car was on its side. I could hear the baby crying who was thrown from the car. I climbed out of the 1976 Toyota Corolla my vision was blurred by blood, a few passersby have already stopped. They helped me right the car and retrieve the baby from a ditch still crying, she was alive. I moved the driver seat forward as best I could and the older child in the back looked like her head went through the inside wall of the car which sent a chill through me, but there was no blood, she was alive but unconscious, no visible injuries. I then checked on my wife, the passenger door was crushed on top of her which flattened the seat to the car floor, having taken the full force of the impact. By this time, the firemen and the ambulance arrived and took myself and the two girls to the hospital, while another group of firemen continued to try to free my wife from the crushed car. She showed up at the hospital about an hour later. I found out that the car door had to be completely cut off with a torch to free my wife. Injuries to my wife were serious, and it was too early to determine if she would survive. Except for some broken bones and some serious lacerations which needed stitches, the two girls, six months old and two and a half years old, were fine, however my wife would spend a month and half in the hospital and several months after being released from the hospital convalescing and regularly attending physical therapy.

Under the weight of the seriousness of the accident and the changes necessary to survive not only the health issues, but now the financial issues, the best year of my life was being crushed into a two-dimensional narrative. Was that year an aberration, not as wonderful as I thought it was? Was it really the map of the path to joy and true love? I was now spending a majority of my time trying to shed the bad things in my life, simplify, simplify, simplify. This experience was one of the best years, and one of the worst years of my life. I found the path to joy and true love. I know what the path looks like. Then I lost the path. That thought always ended like a bad dream with the realization I would never see Mim again. Es muss sein!

26 degrees 12 minutes 14.77 seconds South 28 degrees 02 minutes 50.30 seconds East
Mama Africa3

I was traveling with my three children from Port Shepstone South Africa to Port Elizabeth. It was a long drive with 3 children. We recently passed Mthatha and were not far from Mvezo, Mandiba’s birthplace. I decided to stop in a small town to buy the kids some snacks and to treat myself to some Sorghum Beer, and some Imkomazi a curdled milk (Maas) that is popular in South Africa. We purchased the treats and sat on the curb to enjoy our food and drinks in the Transkei. I felt it a good opportunity to educate the kids about Nelson Mandela, who at that time was still incarcerated. An old Xhosa man walked by, bent over and barely lifting his feet, he looked tired from  living a hard life. He looked at us with a long gaze, something many Africans did not do to white people in South Africa. He stopped and sat down next to me. He told me this story. “I was sitting in front of my house when an Afrikaner approach me and asked why I wasn’t working. I told him I was sitting in front of my home enjoying the sunshine and drinking Sorghum beer. The Afrikaner began to lecture me on how hard work, and dedication to doing a good job earn themselves the right to sit and enjoy the sunshine and beer in their later years. The Afrikaner looked at me expecting some explanation, and I said to him, sir why must I trouble myself with hard work when I am sitting in the sunshine and enjoying a beer now. The Afrikaner walked away disgusted that I did not share his ambition for work.”  I am not sure what prompted the Xhosa man to tell me this story except that I was a white man sitting along the road on a workday, enjoying the sunshine and a beer in the company of my children. I thought the story was mildly amusing, and he one-upped the Afrikaner. It was not until months later that I realized the story was about racism and oppression. He wasn’t an unambitious man because he didn’t like to work, he didn’t like to work because in this oppressive society his work would never be anything more than menial and would never produce the wealth that the Afrikaners work produced. If he wanted to sit and enjoy the sunshine and some sorghum beer on a workday, why not, his life is improved, if just for a moment.

 

My family and I arrived in South Africa after almost 26 hours of traveling from Indiana to Johannesburg. I was excited about by first job as a Professor at the University of the Witwatersrand. The university put us up in a hotel and after a good night’s rest we were moved for about a month to a house not far from the university. This would give us time to find a place of our own. The first day we moved in we discovered that we had a house cleaner. A tall, older African women with a very pleasant personality. As we went about unpacking and organizing the house, I noticed she was in the front room talking with our oldest daughter and she was running her fingers up and down my daughters’ arm. I casually went over to see what was going on. I introduced myself, and again ran her fingers up my daughter’s arm commenting on what beautiful skin she has, and how much she admired that shade of brown. She wished that she had that color of complexion because it was so beautiful. I am Caucasian, my wife was a Native American Mexican, and our children are textbook examples of a hybrid. What this encounter sensitized me to was nuances of skin color. Colors that I had previously categorized into one of only three categories, white, brown, or black. Our house cleaner had inadvertently demonstrated that my taxonomic system of skin color was woefully inadequate and did not represent the true diversity of skin color. Was everyone as discerning as our house cleaner when it came to skin classification? I discovered whole aisles in stores devoted to makeup and products that addressed all sorts of issues with skin color. As it turns out the dark continent was not dark after all, it was polychromatic, it ran the gamut. Now I had to become an expert on the nuances of skin color. The diversity and the abundance of descriptors applied to skin color is impressive. My rudimentary and shallow classification system became obsolete. My world now demanded the notice of nuance. When I found myself in large groups of people in Africa, I previously viewed myself as the lone white man bobbing in a sea of black. Now with my new eyes I was no longer a loner, but a swatch of color in glorious continuum of color. Donde Estoy? Here among the continuum of humanity, properly classified, not as a separate group, but occupying my place among the diversity of mankind, with increasing shades of blackness to my right and increasing shades of whiteness to my left. I belonged; I had a specific place which I can only triangulate relative to someone else’s place. I was coming to realize that Africa was not a place with stark contrast, it was not bold, it did not demand your attention it coerced your attention. It did not shout at you, it whispered, it caused reflection and then loitered among your thoughts, it was patient and changed you in imperceptible increments. It is as if someone left the door to your mind open and next thing you knew a new culture and outlook moved in.

 

Victoria Falls, Zimbabwe

The day to day of our life was like any other place we lived. During our free time from work, family, and school, we continued to travel throughout South Africa and southern Africa, visiting Namibia, Botswana, Zimbabwe and Zambia. My daughters were beginning to pick up the local accent. We were slowly becoming Africanized. The girls went to local public schools, which during these final years of apartheid were still segregated and the government was still advocating that apartheid was about difference in culture, not race. My middle daughter came home one day from school upset that she failed a school assignment. The assignment was to cut pictures out of magazines of people who represented the “cultural” groups. The teachers were expecting that students would identify the groups based on skin color. My daughter cut pictures out representing the Portuguese, English, Dutch (Afrikaner), and people of color were grouped according to their various cultural heritage, Zulu, Tswana and Xhosa. Interestingly she grouped the Griqua people with the Afrikaners. The Griqua are a people of mixed ancestry with the Afrikaner and were officially designated as Coloureds. Many of these people spoke Khoe but they also spoke Afrikaans and were often members of the Dutch Reformed Church. I was impressed with how much she had learned about the different people of South Africa. Ahhh, the innocence and honesty of children. I told her not to worry that she flunked racism, and that I was proud of her hard work and her desire to better understand the cultures in South Africa.

Overlaid on our lives in South Africa were the escalating tensions among the African and white South Africans to abandon apartheid. Violence was increasing. Random explosions of mailboxes and garbage cans were becoming frequent, so much so, they were removed from the streets of Johannesburg. A skating rink that we frequented on weekends was blown up and luckily it happened on a weekend we decided to do something different. Necklacing became more common. It was an act of violence by Africans against Africans that were collaborating with the white government and secret police. It was a form of torture where a rubber tire filled with gasoline was place around the torso and the arms of a collaborator rendering them unable to use their arms to remove the tire, and the gasoline was set alight leading to a horrific and painful death. The South African Police were escalating their violent intimidation of freedom fighters by numerous arrests and raids in the city and the townships. People would just disappear. On the campus where I worked which was already integrated it saw an increase in demonstrations. For the first time in my academic career my class and I were tear gassed out of the classroom. This required me to learn new skill sets. You can burn off the teargas in front of your face by lighting a rolled-up newspaper on fire. This was necessary because the SAP needed to evacuate the upper floors of campus buildings to prevent the possibility of snipers picking off SAP. It was at this time I became a member of the United Democratic Front (UDF) dedicated to establishing a nonracial South Africa, “UDF Unites and Apartheid Divides”. After joining the UDF it became increasingly more difficult to get my work visa renewed. Hate was spreading among all South Africans. I remember a day that I was fixing something my house in Yeoville, Johannesburg, when I heard this drunken rant coming from the street. It was an old African man that I often saw in a nearby park who indulged in drinking this blue cleaning fluid, which contained methanol instead of ethyl alcohol, a dangerous substitute for a drunken escape. He was staggering down the street voicing his displeasure with apartheid. I went back to my work. A few minutes later my girls were yelling “Dad, Dad” come quickly” I ran to the front door to witness this old man being savagely beaten by our neighbors teenage kid with a cricket bat, claiming he had thrown a rock and broken an 8 X 35 cm glass window louvre. I ran to stop this beating, but it was too late the old man was already dead. I called an ambulance and about 20 minutes later an ambulance showed up. They informed me that this ambulance was for white people. They gave me the number for the ambulance for black people. A bakkie arrived about an hour later. They casually tossed old man in the back of the pickup and drove away. It was at that moment I realized that my children witnessed this horrific act of violence. No police ever showed up to determine what happened. What lesson does one derive from this experience? What was the takeaway for my children? I didn’t know what to say, I had no words that would rehabilitate humanity. Restore hope that people were good. We never talked about it until they were adults, by then it was a vague childhood remembrance.

A Baobab

People were scarred, believing that South Africa could lapse into a “Second Chimurenga” (Chimurenga is a Shona word roughly meaning “revolutionary struggle”), it was used to describe the 15-year Zimbabwe Bush War. Rhodesia was liberated in 1980, tired, beaten, and broken. Racism is a credo and it was in this context that I would come to confront my own racism.

I was anxious to do something more positive during these tumultuous times. I volunteered to teach in a program for people who worked at the Rand Mines to complete their High School education. I would teach an evening class in Soweto Township (SOuthWEst TOwnship). I remember driving out to Soweto and arriving at the school with my three children. They brought their homework and some other things to keep them busy while I taught. I signed in, received my teaching materials, and proceeded to find a quiet place for my children. One of the organizers approached me and the children, he asked if the children would like to go to a nearby house to play with the some local children, rather than be imprisoned in the room for the three hours where I was teaching. My children in unison and looking as cute as possible immediately looked up at me and said in a loud, and enthusiastic voice as if shouting out a command “DAD can we go, we want to go play”. That is when I froze! It was as if someone threw a switch in my brain, which freed all these thoughts, is it safe?, we are in Soweto, the escalating violence, the hate in the world. It then occurred to me if we replaced the black people with white people, my answer would have come easy, I would let them go play. I would have trust and confidence that they would be fine. It was because they were black that kept me from immediately making that decision. I now had to confront my racism, and where it came from. Who taught me this? I was not racist. That day I learned that I am racist, and my nonracist veneer was just an abstract idea. How long have I been living a dual existence, practicing this double standard, maintaining this intellectual apartheid!  My fear was because these people are black, their incompetence was assumed, not based on any personal knowledge of their character. I was surrounded by people that wanted to improve their life, that lived decent lives, and worked hard, that were extending kindness and appreciation to me for being there, there was nothing to distrust. All of this was rolling around in my head, which seemed like a half hour, but was only a few minutes. I released the kids from the grip of my racism and told them they can go play. But my inner thoughts were still skeptical. I muddle my way through the first evening. My thoughts bounced between teaching and a resurging fear and distrust. When class ended, I had time to get to know some of the students, and their enthusiasm and focus just reinforced that my reaction is rooted in racism, not based on any discernable deficiency of the people. Shortly afterward, my kids returned, dirty, excited, talking about their new friends, and what a great time they had, how good the food was, and begging me to return on Sunday to go to church with them, being sure to emphasize that we were invited by their parents. We continued to visit our newfound friends and we did worship with them as often as we could, given the distance between the township and Johannesburg.

A village in Botswana

Mama Africa first taught me to discern physical difference and look at the people of Africa as individuals, see their beauty, she their differences, wallow in their diversity. Now Mama Africa was subtly working on my mind, constantly whispering to take notice of what is in the hearts of people, not blindly accepting the stereotypes which define so many groups of people. When one looks past the physical, and considers what is in a person’s heart, which is reflected in their behaviors, it is that domain which is toxic to racism.

I was being Africanized. I was slowly making deep connections to the land and its history. My recognition of people was becoming more an analysis of the intellectual and heart felt emotion of a person, than just a recognition of the external characteristics. I think Malidoma Patrice Some put it best “Whether you are raised in indigenous or modern culture there are two things that people crave: the full realization of their innate gifts, and to have these gifts approved, acknowledged, and confirmed.” These strong inner desires are who you really are. Equality and freedom demand that we consider the inner self, and it is only when one learns to love that inner self, do they find some contentment and purpose in life. I loved Africa. I loved Africa for its ebullience, where every nuance was significant, it had a timeless feeling, the actual place where God made man and literally formed him from the African clays. It is my Roden Kraj, my place of origin, my cosmic birthplace.

The violence that escalated in Africa paralleled the deterioration of my marriage. I was offered a job in Louisiana and felt that returning to the United States was the best place to pull apart an eighteen-year marriage in the least traumatic way for our children. This needed to happen if either my wife or I was to preserve anything genuine of ourselves. We each needed to better realize our innate gifts, to have these gifts approved of, acknowledged, and occasionally confirmed. We sold our house, packed up our things and shipped our household back to Louisiana. We left in late winter when the dry African Veld was like an artist’s study in brown, the landscape was nuanced as its people. The annual ceremony of purifying the landscape was beginning. Fires were lit to burn off the old grass and await the rebirth of the new luscious green grass that emerged from the charred landscape, it always gave me hope.

Hwange National Park in the Fall

Someone warned me when we first arrived in Africa to be careful; there are people who become Africanized. Africa will become part of your being. If you leave Africa, a day will not go by that Africa enters your thoughts to loiter for a while and wells up that desire to return. “Long time me no see you Mama, They took me away from you Mama, In you there’s so much beauty, In you there’s so much life, I’ve been waiting, yearning, looking, Searching to find you, I’ve been crying, praying, hoping, That I may find you Mama, You’re my mother Africa”3 There is not a day that goes by without a whisper from Mama Africa.

 

We boarded our eighteen-hour flight back to the United States. It was a lot of time to think. There was no conversation, just a vibration of anxiety. What did the future hold for all of us. To pass time, I pulled out the welcome folder the university in Louisiana gave me in anticipation of my arrival. I open up the brochure and in big letters at the top was the Cajun French phrase “Allons a Lafayette” (lets go to Lafayette and  “Laissez les bons temps rouler” (Let the good times roll) with pictures of happy people dancing in the park, Uhh, they dance in the park.

Muss es sein?

 

Notes:

1Moj Roden Kraj a Macedonia and Bulgarian Folk Song
https://www.youtube.com/watch?v=tEi84XTFcMM

2 Milan Kundera in his novel Unbearable Lightness of Being borrowed this phrase which was written on the sheet music of Beethoven’s Op. 135 the phrase defined a motif within that Opus

3 Taken from a song by Peter Tosh – Mama Africa
https://www.youtube.com/watch?v=IQUd8Kpyvto

4Rebecca West Black Lamb and Grey Falcon,1941

5Malidoma Patrice Somé, The Healing Wisdom of Africa: Finding Life Purpose Through Nature, Ritual, and Community 1999

 

Michael S. Zavada born and raised in Bridgeport, Connecticut. He received his B.S. and M.S. degree from Arizona State University, Tempe. He received a B.A. in Slavic Languages, and a Ph.D. in Ecology and Evolutionary Biology from the University of Connecticut, Storrs. He spent one year as a Fulbright Scholar in Skopje, Macedonia at the Geologic Institute, and the Center for Foreign Languages. He has served on the faculties of The University of the Witwatersrand, Johannesburg, South Africa, The University of Louisiana-Lafayette, was Professor and Chairman of the Department of Biology at Providence College, Providence, RI, and East Tennessee State University, Johnson City, TN. He served as Dean of the College of Arts and Sciences at Seton Hall University, New Jersey and as Dean of The College of Arts and Sciences at University of Texas – Permian Basin and subsequently served as Chair of Geosciences at University of Texas – Permian Basin. In addition to his academic interests, he played baseball at Arizona State University, participates in a variety of sports, and outdoor activities, enjoys travel, and is an instrument rated private pilot.

 

Devastación del hotel Packard

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Las coordenadas marcan un punto
sobre un mapamundi arrugado,
hay que insistir, dice el que siempre recuerda,
hay que golpear el picaporte, pasar
el umbral de la ciudad difunta,
lo que el descuido arrasó
va y se convierte en adorno,
una construcción inclinada
que conserva su color amarillo,
la palabra inquietud no es suficiente
y resbala por el lomo de un libro
del poeta remendón
Lorenzo García Vega: Devastación del hotel San Luis,
una babosa se acurruca en su textilandia
para contar lo inesperado,
pero nunca aceptarías, por eso te vas,

 

te agota tanta promiscuidad,
es posible trepar a un gran árbol
y chapurrear la lengua de un pájaro,
el hotel es hambre y devastación
donde escupir la esponja de la sed,
tontear frente al hocico del lobo,
lengua de lobo, la lengua feroz
encerrada en una cajita,
en una gaveta de escritorio
en mi habitación del hotel Packard,
pero no conviene forzar la voz,
sobran palabras,
balbucear, silencio,
bienvenido seas
a cualquier lugar.

 

Rodolfo Häsler nació en 1958 en Santiago de Cuba y desde los diez años reside en Barcelona. Estudió Letras en la universidad de Lausanne, Suiza. Tiene publicados los siguientes libros:  Poemas de arena (Editorial E.R., Barcelona, 1982), Tratado de licantropía (Editorial Endymión, Madrid, 1988), Elleife (Editorial El Bardo, Barcelona, 1993 y Editorial Polibea, Madrid, 2018, premio Aula de Poesía de Barcelona),  De la belleza del puro pensamiento (Editorial El Bardo, Barcelona, 1997, beca de la Oscar Cintas Foundation de Nueva York), Poemas de la rue de Zurich (Miguel Gómez Ediciones, Málaga, 2000), Paisaje, tiempo azul (Editorial Aldus, Ciudad de México, 2001),  Cabeza de ébano (Ediciones Igitur, Barcelona, 2007 y Ediciones El Quirófano, Guayaquil, 2014), Diario de la urraca (Huerga y Fierro Editores, Madrid, Editorial Mangos de Hacha, Ciudad de México, y Kálathos Ediciones, Caracas, 2013). Finalmente, Lengua de lobo (Hiperión, Madrid, 2019, XII premio internacional de poesía Claudio odríguez).  Ha publicado la plaquette Mariposa y caballo (El Toro de Barro, Cuenca, 2002) y Cierta luz, Ediciones Mata Mata, Ciudad de Guatemala, 2010), así como  Antología poética (Editorial Pequeña Venecia, Caracas, 2005) y Antología de Tenerife, Ediciones Idea, Las Palmas, 2007).  Ha traducido la poesía completa de Novalis, los minirelatos de Franz Kafka y una selección de Anthologie secrète de Frankétienne. Es autor de la antología poética El festín de la flama de la poeta boliviana Blanca Wiethüchter.

Creadores

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Pascual Borzelli Iglesias y la poética de la luz

El registro fotográfico cada día es más difícil.  La revolución tecnológica ha puesto en predicamento al oficio de la fotografía que yo considero artesanal. Los teléfonos inteligentes suelen ser más potentes que las cámaras, pero carecen de la habilidad para encontrar esa luz vital que fortalece mi trabajo fotográfico.

Todo mundo, hoy en día, está atento al teléfono-cámara y posa de inmediato. Cuando el fotógrafo aparece con su equipo, nadie se percata de que está allí. Debe de tener la habilidad de pasar desapercibido, si no, por lo menos, intentarlo.

El fotógrafo tiene que estar atento siempre. Al acecho, como una pantera. Es una mezcla de instinto y paciencia monacal. Estos requisitos y otros más son ineludibles en la fotografía, para que haya magia.

La imagen captada pasa a formar parte de un registro histórico.

Las personas quieren ver el retrato o el paisaje de inmediato. Han olvidado o dejado de imaginar que la fotografía fue parte de un proceso metabólico que luchó para no extinguirse. Iniciaba con la terminación del rollo, luego continuaba con el trabajo de laboratorio, finalmente la develación de la magia en el papel y posterior secado. Todo eso se acabó.

Lo inmediato es lo único que cuenta. Pasar a la siguiente imagen.

Mi trabajo fotográfico lo he logrado con el paso del tiempo. Dedico todo el necesario para poder retratar y que no se me vea como un intruso o alguien que invade.

Conocer la luz, ese elemento que es el que permite la fotografía, es el gran reto. Esperar el momento adecuado, el movimiento y la oportunidad que te permite será la que logrará el efecto deseado. Quien la conoce y se hace amigo suyo, cómplice de ella, logrará lo único y mejor.

 

ESCRITORES:

2013 – Luis García Montero, España, Aguascalientes, Aguascalientes, México.

 

2014 – Nuno Júdice, Portugal, Aguascalientes, Aguascalientes, México.

 

2014 – Martha L. Canfield, Uruguay-Italia, Aguascalientes, Aguascalientes, México.

 

2015 – Roberto Fernández Iglesias, Panamá-México, Durango, Durango, México.

 

2015 – Yolanda Pantin, Venezuela, Aguascalientes, Aguascalientes, México.

 

2012 – Antonio Moreno, Cd. de México, México,

 

2019 – Marco Antonio Campos, México, Cd. de México, México,

 

2019 – Gorka Lasa, Panamá, Pachuca, Hidalgo, México.

 

PINTORES:

2020 – Guillermo Ceniceros, Durango, México, Cd. de México, México,

 

2020 – Hersúa, Manuel Hernández Suárez, Cd. Obregón, Sonora, México, Cd. de México, México,

 


 

Pascual Borzelli Iglesias nació en Panamá y se ha dedicado durante muchos años al fotoperiodismo en diferentes  periódicos, suplementos culturales, revistas impresas y digitales en México y Perú (Universidad Nacional Autónoma de MéxicoUniversidad Autónoma MetropolitanaVuela plumaLa Razón; Laberinto, etc.) Desde 1994 labora en los campos de investigación cultural y literaria; organización de ferias y exposiciones; producción editorial y fotográfica. Ha creado con sus dos hijos Miguel Borzelli Arenas y Margarita Borzelli González, un banco fotográfico de creadores y personajes del mundo cultural.

Arde el mar

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Qué dulce es al oído el rumor con que giran los planetas del agua.
Pere Gimferrer

Arde el mar 

Arde el mar en la memoria
y en mis ojos.
Me saludan los labradores
que están labrando el mar.
Buceo para encontrarme
con los ataúdes de los míos
y recorro la inmensidad
en busca del velero
en el que desapareció
el ciego Otto.
Me llegan de muy lejos
las campanas marinas.
Rezo las oraciones del agua.
Regreso a la superficie
y veo como una ofensa
la tierra a la que no pienso regresar.

 

Afuera en el jardin

Afuera, en el jardín,
mujeres desnudas bailan en corro
una sardana obscena,
sin patria. Las acompaña
la música del agua
y los niños en la tapia
cantando canciones
de una deliciosa melodía
en una lengua indescifrable.

 

Agonizan las flores 

Agonizan las flores
en un jardín de polen y de insectos.
Vive el mundo ajeno al dolor.
Cierran las ventanas
para no ver el cielo
y protegerse de los abejorros.
Se oyen voces lejanas
sin más significado que su lejanía.
Las casas están llenas de jarrones
con flores sin vida.
Y un niño desnudo juega al ajedrez
ajeno a todo lo que nace
para morir.

 

Ahora lloro

Ahora lloro
porque suelo llorar en mis poemas.
Pero no hay razón ninguna
para el llanto.
Amaban las ancianas a sus muertos,
solas, en habitaciones
donde se consumieron los años.
Lloraban los amantes
sin amor.
Y los caballos. Y las vacas.
Una profusión de llanto
Y yo, con los lagrimales secos,
buscaba una razón
para llorar
y la encontraba siempre
en mis poemas.

 

Juan Antonio Masoliver Ródenas (Barcelona, 1939) ha sido catedrático de literatura española y latinoamericana de la Universidad de Westminster de Londres. Es crítico literario de La Vanguardia de Barcelona. Acantilado ha publicado La puerta del inglés (2001), Voces contemporáneas (2004), La noche de la conspiración de la pólvora (2006), La calle Fontanills (2010), El ciego en la ventana. Monotonías(2014), La inocencia lesionada (2016) y Desde mi celda (2019), además de la totalidad de su obra poética: Poesía reunida (1999), La memoria sin tregua (2002), Sònia (2008), Paraísos a ciegas (2012) y La negación de la luz (2017).

 

Foto: Sònia Hernández

José Balza en México

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José Balza está a punto de cumplir ochenta años. No debería decirlo porque es un socias de Dorian Grey y uno de los más jóvenes escritores de la literatura latinoamericana y le gustaría más que ser inmortal ser eternamente joven. Durante muchos años, cuando la fluidez del tránsito de los libros era más normal y no tan azarosa como ahora lo leía con avidez y sus páginas me dejaron emocionantes lecciones de rigor e inventiva, de capacidad para ir más allá de lo previsto en busca de una experiencia extrema del lenguaje como forma expresiva. La distancia y la poca comunicación, aunada a las crisis políticas y el magro mercado del libro dificultan el seguirle la pista a su obra.

          Veo por la bendita y peligrosa Wikipedia –no hay que confundir la información con el conocimiento- que publica con frecuencia y recibe merecidos galardones y es miembro de la Academia de la Lengua de su país, Venezuela, lo cual me regocija. Pero sobre todo escribo está nota para felicitarlo en su cumpleaños y contarle al lector uno de esos milagros que la cultura provoca en medio de nuestro plañir. En Querétaro, ciudad más conocida por sus escándalos políticos que por su hermosa arquitectura, hay una notable actividad editorial y la Universidad Autónoma de Querétaro en su Fondo editorial dio a las prensas el libro Ensayos simultáneos de José Balza. Una verdadera joya. Balza es un ensayista singular porque sus textos reflexivos son visiblemente artefactos verbales que usan y recrean el léxico y la sintaxis, el ritmo las ideas para entregarnos piezas literarias de gran calado, cartografías personales de enorme vuelo creativo.

          No le interesa tener razón, le interesa pensar en y desde la literatura misma. Eso lo sabíamos ya desde las deslumbrantes páginas que conocimos hace ya más de un cuarto de siglo gracias a Adolfo Castañón, sobre El Quijote. El Fondo de Cultura le ha publicado en México tres libros, Este mar narrativo, Medianoche en video y Setecientas palmeras plantadas en el mismo lugar. La UNAM –creo que fue Hernán Lara Zavala- le publicó Ejercicios narrativos (que tuvo una segunda edición) y luego ambos lugares perdieron la buena costumbre de editar sus libros en México. Lo mismo ocurrió con Ediciones Sin Nombre que le publicó La mujer de la roca y otros cuentos. Por eso me entusiasmó tanto la aparición de Ensayos simultáneos: volver a leer a José Balza. Pero en su caso volver es en cierta manera releer, aunque también leer de nuevo, como novedad, sin importar si lo es de facto, es una reedición o una antología. La escritura de Balza es siempre una especie de mecano que el lector arma, que se reconstruye desde si misma, pero lo hace siempre de manera distinta. Por eso siempre relee, por eso siempre es novedad.

          Cuando yo empecé a leer a Balza él ya llevaba un largo camino recorrido. En los primeros años  sesenta se dio a conocer el grupo de escritores de la revista En Haa –Jorge Nunes, Teodoro Pérez Peralta, Aníbal Castillo, Armando Navarro, Lubio Cardoso, Carlos Noguera- y Balza destacó de inmediato, vinculado a lo que se podía considera una literatura experimental, influida por las lecturas del estructuralismo francés e interesado en la lingüística y en las teorías convergentes, ya en franca distancia (pero no negación) del realismo mágico que alcanzaba por entonces sus momentos más célebres. Balza fue un crítico exigente y un narrador arriesgado en un país dominado por la literatura realista a la manera de Rómulo Gallegos. Sus búsquedas coincidirían en el tiempo con la de narradores como Cabrera Infante o incluso Severo Sarduy o con las de Salvador Elizondo. Su experiencia de la narrativa no le impide practicar el ensayo más como lo hacen los poetas: escuchando muy de cerca el texto. Por ejemplo, la deslumbrante reflexión que abre el libro, sobre las relaciones entre aforismo y ensayo, a la vez concentración inusitada de información e intuiciones punzantes con un alto grado de sorpresa e ironía. O, por ejemplo, su famosa reflexión sobre una coma (,) en Cervantes. Balza forma parte de ese postboom que inicia con particularidades muy propias –admiración por la cultura popular, referencias barrocas, oído hiperestésico, conocimiento teórico-.

          La crisis del mercado del libro a mediados de los 90 afectó su circulación entre nosotros. Dejó de publicarse aquí y los libros venezolanos circulan poco en otros países, más ahora que un descarado bloqueo internacional impulsado por los Estados Unidos en la época más baja de su política mundial (más incluso que la de Kissinger en los setenta) los aísla deliberadamente no sólo política y económicamente, sino también culturalmente. He de hacer también una confesión: me resisto a leer libros electrónicos, y lo digo porque en Porrúa se consigue en versión electrónica su más reciente novela, Largo, de 2016, pero aún me lo estoy pensando.

          Entre las literaturas latinoamericanas la venezolana es tal vez la más desconocida y misteriosa, y sin embargo está presente con constancia en ese margen de una escritura heterodoxa –José Antonio Ramos Sucre, Guillermo Meneses, Rafael Cadenas, Guillermo Sucre, Eugenio Montejo- a la que tanto necesitamos ahora devolverle su vigencia, Y Balza y sus ensayos simultáneos, y sus cuentos y novelas es una inmejorable manera de entrar en ella. Al empezar esa nota hablé del milagro editorial que significa un libro de Balza, porque cuando se dice que un libro aparece hay que tomarlo literalmente: es una aparición. Y el milagro tiene, además, una característica física que también tiene algo: es una edición de gran belleza, sobria, clásica, llena de detalles tipográficos y oficio editorial. Algunas de las mejores ediciones que se hacen en México se hacen allí, en Querétaro.  Y eso se debe en buena medida editores de pura cepa, como Federico de la Vega.

 

II

 

Si a Balza se le preguntara que cómo se define seguramente diría: narrador. Y eso provoca que sus iluminadores ensayos sean escritos como escolios o marginalia a su obra narrativa. Eso es también lo que les da una enorme versatilidad en su forma y libertad en su método. En estos Ensayos simultáneos nos habla, por ejemplo, de diferentes escritores venezolanos que, después de sus palabras, uno quiere leer de inmediato (y se topa, claro, con la dificultad de conseguir sus textos), pero además propone una especie de contracanon o corriente secreta de la literatura venezolana, muy sorpresiva por su sofisticación y alcance. Ya la figura fascinante de insomne absoluto que fue José Antonio Ramos Sucre es una conocida puerta de entrada a esa vía, a ese abismo, de una escritura secreta. No es que Balza no conozca –parece haberlo leído todo- la literatura canónica, sobre la cual dice además cosas muy interesantes, sino que le interesa llevar a la luz esa cara oculta, esa zona de sombras y que expone desde sus fundadores –Teresa de la Parra, Guillermo Meneses- hasta el día de hoy, sin importarle edad, prestigio y jerarquía. Y, con llamados ocasionales, señala también su conocimiento y la manera de ponerlos en relación con otras geografías. Pongo un ejemplo: Ensayos simultáneos incluye un notable ensayo sobre la obra de Christopher Domínguez Michael, penetrante y complejo, lleno de sutilezas que ninguno de los críticos mexicanos hemos escrito, no tanto porque esté menos contaminado por bandos, posiciones y prejuicios, sino porque tiene más claro qué le pide al crítico. Así es difícil precisar el campo temático del libro ¿literatura venezolana, latinoamericana, poesía o narrativa, música o pintura? Todo está mezclado, como en botica, pero como en buena botica, perfectamente ordenado y delineado su flujo conceptual.

          Así que empecemos por el principio: el título mismo. Ensayos simultáneos. Tiene miga. Se reúnen textos escritos para la ocasión –un homenaje, una reseña de un libro recién aparecido, un discurso de agradecimiento de un premio- pero la circunstancia no lo circunscribe. Para Balza leer y pensar es un acto simultáneo, tal vez por eso el título, que se erige, además, como una paradoja, frente a la inevitable naturaleza sucesiva de todo ejercicio crítico. Como suele suceder con estos libros misceláneos uno los empieza leyendo por aquí y por allá y termina devorándolos en la secuencia propuesta por el escritor.  Y buscando otros libros del autor para releerlos. Por ejemplo, en el breve recuento que hice de su presencia editorial en México no mencioné –no lo tenía presente- un libro peculiar, Iniciales, publicado por la UNAM. Simplemente lo había olvidado y al ir al librero allí, estaba, esperando que lo leyera. Pero, ya se dijo, autores como este siempre se releen aunque sea la primera vez. Y ese libro, que se ocupa de los orígenes de la literatura hispanoamericana, me hace caer en otra paradoja: Balza es un autor intermitente cuya intermitencia en algún momento se muestra como continuidad. Y así el francotirador que formula nuevos cánones y descubre autores inesperados es también capaz de dar una mirada histórica consecutiva –y consecuente- a nuestros clásicos. Y así mirarlos desde otro punto de vista, también ellos como heterodoxos y marginales a la continuidad que ellos mismos han creado. Y así dialogar, por ejemplo, con Guillermo Sucre de La máscara, la transparencia y con el Rafael Humberto Moreno Durán de De la Barbarie a la imaginación.

          Así, calificarlos de simultáneos, quiere decir que ocurren al mismo tiempo o que el tiempo es en realidad espacio transfigurado en la lengua. El tiempo sucesivo deja lugar a un tiempo distinto, que tampoco es el del eterno retorno, sino el del instante, experiencia contenida en lo simultáneo que no significa exactamente algo que sucede al mismo tiempo, sino que aporta un matiz existencial distinto. Balza estará entre los cuatro o cinco escritores venezolanos vivos más importantes actualmente –Rafael Cadenas, Guillermo Sucre, Ednodio Quintero, Yolanda Pantin y algún otro que se me olvida- y sin embargo se ocupa por igual de sus antecesores que de jóvenes muchos años menores que él. Esa es otra noción de lo simultáneo que también hay que agradecerle, en una época en que los medios masivos simplifican todo y lo reducen a la obviedad. Porque eso mismo que yo acabo de hacer –mencionar apenas unos cuantos, es ya también un ejercicio de reducción al que Balza no se pliega, en buena medida porque, a la manera de Maurice Blanchot, la literatura siempre es un diálogo infinito y por venir. Balza es un sismógrafo de su inminencia, nos avisa del terremoto no para que busquemos escapar sino para que vayamos hacia él con los ojos bien abiertos. Una de las venas del libro es la relación entre literatura y pintura, con la obra de Armando Reverón como eje articulador de esa relación.

            Balza vive plenamente el mundo de la expresión creativa tanto a lo ancho como a lo largo, por ejemplo en la música. Los Ensayos simultáneos se cierran con un largo capítulo, un poco inconexo, sobre la música venezolana, y un colofón verdaderamente inspirado sobre el bolero. Alta cultura y cultura popular, inicios de la literatura latinoamericana y lo más nuevo de lo nuevo, igualmente cumple la paradoja de hacer en su condición cosmopolita un ensayo más que nacionalista nacional, no por obsesión ideológica sino por necesidad personal, en la que el entorno más que patria y nación es matria y paisaje, léxico y ritmo como alimento vital. Y a eso se extiende también la condición simultánea, los ensayos de Iniciales no son ejercicios de investigación histórica sino actualización del sentido vigente de esos clásicos, El Inca Garcilaso y Netzahualcóyotl, Hernando Domínguez Camargo y El lunarejo, Sigüenza y sor Juana, no son objeto de arqueología y recuperación, son leídos como poetas de hoy. Y lo consigue. Ese guiño implícito en el título (la edición de Monte Ávila, de 1992, se titula así, I, mientras que la mexicana de 1997, agrega como subtítulo, “Siglos XVI y XVII”, lo que anula un poco el juego de no saber a qué se refiere esa i, si son ensayos, relatos, escritura pura), nos muestra también la inteligencia lingüística de este escritor, adscrito sin duda a lo que en México llamaríamos escritura, contrapuesta a la onda, la famosa dicotomía planteada en los años sesenta entre las vías abiertas por la nueva narrativa.

            El método de Balza es el del collage, notas de diversas épocas se ensamblan con singular precisión para dar forma al discurso. Esa libertad de ensamblaje se apoya en las constantes que recorren los 60 años de escritura de nuestro autor, pues en su evolución no abandona temas sino que los reformula y los lleva a otros espacios y niveles. Entre los cultivadores de un nuevo barroquismo Balza es un buen ejemplo de que no se quiere resucitar un estilo o una época sino entender que hay en ellos de necesidad verbal, de un Adán que nació barroco al nombrar las cosas por vez primera.

 

III

 

Un juego demasiado fácil de palabras sería señalar que la exclusión de la c nos abre a un abismo: Balza no es Balzac. Pero el universo narrativo que comparten los hermana en su heterodoxia. La simultaneidad es en el relato disposición consecutiva. Por eso Balza en sus ensayos presta tanta atención a la composición narrativa, son ensayos de narrador, y nos cuenta una historia, la de una inquietud o curiosidad, la de un deslumbramiento, la de un interés en el lenguaje y/o en el autor. En Iniciales, lo que se busca es contar la novela de esa novela sin novelista, de ese continente que sólo la imaginación puede formular –descubrir- y que en el viaje de Colón, en las de eso navegantes extraordinarios y conquistadores crueles, de Cortés  a Magallanes sin olvidar a Aguirre, Balza ve la transición del hecho al mito y del mito como hecho. Vivimos en una ficción: ese nuevo mundo. Los compone como un cuento. Por eso su interés por el Quijote y su coma: la novela de Cervantes es un elogio de la locura, perdón, de la lectura ¿sinónimos acaso? Fue algo que surge con el boom, sobre todo en Carlos Fuentes y en Mario Vargas Llosa y que la generación siguiente hace costumbre, buena costumbre. ¿En que latitud, al cruzar qué paralelo los conquistadores perdieron la razón? Porque la novela no es el reino de la razón sino de la imaginación, eso que es en cierta manera la razón perdida. No somos los hispanoamericanos kantianos y necesitamos hacer la crítica de la razón narrativa. Balza lo entiende muy bien. ¿Y los poetas? Bueno, como suele acontecer lo sabían antes, de allí la centralidad de José Lezama Lima y de Octavio Paz el último medio siglo.

 

IV

 

Balza es, ya se dijo, un narrador, pero lo es de manera tan esencial, que sus espléndidos ensayos se vuelven también relatos. ¿Qué quiere decir esto? Que su sabiduría para contar la historia de las obras alcanza para contar la de los autores y coinvertirlos en personajes. Tal vez sea esta la enorme diferencia entre los ensayistas puros, los ensayistas poetas y los ensayistas narradores: estos últimos acaban convirtiendo al autor en personaje. Y vuelve a la historia una novela y así la hace más verdadera. Eso provoca que su ensayística no sea iconoclasta ni este armada con la espada ante sus antepasados y contemporáneos, pertenece más a la parte de la tradición que de la ruptura si usamos los términos de Paz, y crea una continuidad discursiva admirable. Por eso este tipo de ensayo se lee con fluidez incluso cuando tiene sus complejidades conceptuales o filológicas. Por ejemplo, cuando Balsa señala la condición lectora de sor Juana y alude a la lectura del sueño de la monja que hace Paz, no hace, como si lo hizo el poeta, preguntarse por las lecturas de sor Juana, le importa que lea no lo que lee. A partir de sor Juana, el libro publicado por Monte Ávila y el publicado por la UNAM son distintos. En el primero hay algunos textos que nos iluminan para leer el segundo. En realidad hay muchas diferencias, los mismos ensayos son diferentes, más amplios en la edición mexicana. Balza acostumbra hacer de sus libros trabajos en construcción y los modifica, reordena y cambia cuando los vuelve a publicar. No es un trabajo de re ensamblaje sino muchas veces de reescritura. En la edición mexicana agrega dos textos, sobre Nicolás de Herrera y Ascanio y sobre Eugenio de Santa Cruz y Espejo, señal de que no agota sus temas ni los cancela en sus lecturas. A Balza le atraen tanto el discurso mismo de esos siglos iniciales como el recurso reflexivo barroco, le gusta lo que piensan con relación a como lo piensan, y a veces más el cómo de ese cómo. (Estoy seguro que le entusiasmaría la figura de Guillermo de Lamparte y su extraño proceso, su curiosa figura y su condición del proceso más largo llevado por el Santo oficio en la Nueva España.)

            Es evidente que lo bizantino no es bizantino, si primero usamos la palabra para designar una época y después para designar una discusión sin objeto. Lo primero, la época, como el barroco, es fascinante en sus tropos expresivos que son casi siempre discursivos.  Y podemos entonces decir que lo barroco no es barroco y sacar las consecuencias del enunciado. Pero seamos aún más radicales: los sofistas no hicieron del pensar un sofisma. La extrema formalización de los periodos mencionados en Grecia, la edad media y siglo XVIII nos lleva a ese “género” que tanto inquieta al narrador Balza: el ensayo.  Habría que (volver a) preguntarse si realmente es un género o un antídoto contra la formalización genérica. Porque, cosa curiosa, el ensayo es una elección constante en los sofistas, los bizantinos y los barrocos.  Es un antídoto que provoca la enfermedad, como suele ocurrir con las vacunas, antídotos anticipados a los que se les pasa la mano y te enferman de lo que te curan.

            A Balza le interesa, y lo va señalando con sutileza en cada uno de los textos, mostrar la gestación de la crítica literaria en nuestro continente, cómo esa búsqueda de las finezas del discurso va dando paso a través del humor y el uso del lenguaje basado en oídos atentos hasta la hiperestesia, se va abriendo camino hasta nuestros días para conformar ya una tradición admirable, que se desarrollará sobre todo en el siglo XX a partir de pilares culturales como Pedro Henríquez Ureña y sus discípulos. Del ensayo se puede decir, cuando alcanza ese momento dorado, lo que San Agustín del tiempo: si no me preguntan sé que es, si me lo preguntan ya no. Saber qué es quiere decir que lo reconocemos en cuanto lo vemos pero que nos evade en cuanto queremos que nos lo diga.

            Una de las estrategias ensayísticas de Balza es que en sus libros reflexivos suele incluir, casi siempre como prólogo o epílogo (a veces ambos) un texto muy conciso y concentrado sobre la función del ensayo y la reflexión para dar así un sentido a sus relatos reflexivos sobre los autores y las obras. Acaba Iniciales con un brillante texto homenaje, glosa y nueva propuesta sobre Alfonso Reyes que da sentido al libro. Lo sitúa en la senda de un discurso literario que se edifica entre todos y que no es, como ya se dijo, un devenir histórico sino imaginario. Por eso es importante volver al libro por el que los mexicanos –mi caso no fue el único- lo conocimos, Este mar narrativo. Los epígrafes de Thomas Mann y de Cervantes que abren su libro dan el tono: Cervantes, como él mismo Balza discurrirá en las páginas siguientes cambia la literatura e instaura la idea y  el modelo de lo que hoy llamamos novela, hoy, es decir, de manera moderna, distinta a la que señalaba la palabra en la edad media. Como Iniciales, se trata de un libro erudito y riguroso, pero no de una académico, filólogo o lingüista, sino de un escritor.

            Ciertos descubrimientos historiográficos nos hablan de la voluntad que tuvo en cierto momento Cervantes de venir a América, César Antonio Molina nos dice: “…el 21 de mayo de 1590, solicitó por medio de su hermana Magdalena la contaduría del Nuevo Reino de Granada, la gobernación de la provincia de Soconusco en Guatemala, ser contador de las galeras en Cartagena de Indias o ser corregidor de la ciudad de La Paz.” Los críticos nos fascinamos incluso sólo por la posibilidad misma de que el autor de La Galatea hubiera venido al continente recién descubierto. Y los ensayos de Iniciales, cuentan cómo, si no él sí su espíritu, o el de su escritura y el de su personaje central Don Quijote, viajaron a nuestro continente. En efecto la secuencia de Cervantes a sor Juana está perfectamente dibujada por el modo de referir la realidad, por el sentido que instaura en ella el imaginario literario. ¿No hay algo ya de cervantino en Bernal Díaz del Castillo y su Crónica?

            Sin embargo Balza, y eso lo notamos desde las primeras páginas de Este mar narrativo, tomo a la obra cumbre de Cervantes como una obra moderna, no escrita ayer ni hoy, sino mañana. Toda gran literatura, diría Maurice Blanchot, es una literatura por venir. Así que la intención de Cervantes de venir al nuevo continente, es en cierta manera otra de las aventuras de su trasunto, el caballero de la triste figura. Y, como se sabe, la narración tiene su origen en la vida, desde luego (¿qué no?), pero sobre todo en la vida de lector.

 

José María Espinasa nace en la ciudad de México en 1957. Realiza estudios de cine y literatura en la Universidad nacional Autónoma de México. Ha publicado los libros de poemas Son de cartón, Cuerpos, Piélago y El gesto disperso, Escritos en un muro de aire y Al sesgo de tu vuelo. También los libros de ensayo Hacia el otro, Cartografías, El tiempo escrito, El cine de Marguerite Duras, Roberto Gavaldón director de cine. Temor de Borges, Actualidad de Contemporáneos y El bailarín de tap (Retrato de Truman Capote con Herman Melville al fondo). Es profesor, periodista y editor. Ha dirigido las revistas La orquesta, Casa del tiempo y Nitrato de plata, fue secretario de redacción de La Jornada semanal de 1990 a 1995. Fundó y dirigió el suplemento Ovaciones en la cultura durante dos años (1999-2000). Fue Coordinador de producción editorial en El Colegio de México y director de Ediciones Sin Nombre. Forma parte del Sistema Nacional de Creadores del Consejo Nacional para la Cultura y las Artes. En 2015 publicó Breve historia de la literatura mexicana del siglo XX en El Colegio de México, que va en su tercera reimpresión, y en 2019, como fruto de un apoyo del Sistema Nacional de Creadores el libro Notas para una política del texto (La literatura mexicana después de 1968). Actualmente dirige la Red de museos de la Ciudad de México, de la Secretaría de Cultura de la Ciudad de México, desde 2014. Se ha especializado en literatura mexicana. Colabora actualmente en diversas publicaciones en la red y escribe regularmente para La Jornada semanal, suplemento del diario del mismo

Fälla

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El ferrobús cruza el límite de la comarca y de lo aprendido. Si no busco el aire ya tengo aliento. La única dirección del clima es la repetición. Apostar por mí misma esta vez.

***

Todo empieza en una defensa, guardando el silencio, como si no presenciáramos esto. Pero que lo acostumbrado puede decir más de las personas con las que hemos convivido que de nosotros mismos. El terreno busca los terrenos, vastas turberas.

Si nos mantenemos despiertos sobre el lago, ahora que todos han olvidado o simplemente han dejado de buscar. Absorbe este otoño, la línea de los árboles, matorrales de abedul.

***

Ser posible hasta. Rebasemos los caminos, viajemos con los árboles. Hay una comprensión en. Terrenos sin nieve, nos moviste aquí. El río se reúne hacia abajo, una espera que pasó. El conato y cuando hacemos mención del lugar.

***

Respondemos únicamente a ti

La distancia influye marcadamente en la sensación

Hacerse literal, no interpretar

Fijar la distancia, las líneas telefónicas, la red de caminos que me ata cada vez más

Dejaremos de ser nuestra historia

***

No quedarse cuando la región se vuelve demasiado significativa

Hablas de nosotros como si estuvieras aquí

Enseñas sin una seguridad

Cuando escuchamos una voz recuerda el cuerpo

Donde hemos buscado latas al pie de la colina

***

Enorme enorme es la verdad la única

El terreno comparte el terreno

Digo que quiero esperar una estación del año

Hay un sentido en el terreno

Bosques expulsados de tus manos

***

Cuando protegemos     salimos del pueblo     la señal de tráfico

a la que  siempre cantamos     como una puerta principal     caminos que tenemos que llevar

terrenos dentro de un hogar     dónde estamos antes de

reales cuando decimos     ver cómo es     qué vamos a hacer con las casas

con el color de las maderas     qué vamos a hacer con el bloque de sal

***

La tierra termina ante el mar,

Aquí uno frena, aquí está el carrizo, el nuevo puerto.

 

Tenemos que hablar de la realidad para ver cuándo está.

 

Pernilla Berglund (Umeå, Suecia, 1982), poeta y editora, es autora de tres libros de poemas. Debutó en 2013 con la colección de poemas Tilltar (‘Aumentando’), la cual recibió buenas críticas y fue nominada a uno de los premios para debutante más prestigiosos de Suecia, Borås Tidnings debutantpris. En 2015, se publicó el segundo libro de poemas, Fälla, el que igualmente tuvo una recepción positiva, y una nominación al premio literario del periódico Svenska Dagbladet. Rätten (‘El derecho’), el tercer y más reciente poemario de Berglund fue publicado el año pasado.

 

Versiones en español: Petronella Zetterlund

Retrato del hijo como un alma en pena

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Difícil negar que, desde su aparición en 1847 en las páginas de la literatura de Occidente, uno de los personajes más enigmáticos se llama Heathcliff. Violento y desalmado, egoísta y feroz, este hombre arrasa con los destinos de dos familias en los fríos páramos de Yorkshire, al norte de Inglaterra, durante los primeros años del siglo XIX. Su historia la encontramos en Cumbres borrascosas (Wuthering Heights), de Emily Brontë (1818-1848). La pregunta ha sido siempre: ¿quién es Heathcliff?, ¿de dónde vienen su perversión y su inquietante deriva hacia las prioridades del mal?

          En un primer acercamiento, la causa de su ambición y crueldad sería el desmedido amor por la joven Catherine Earnshaw. El lugar de Heathcliff en la novela es claro: recogido en una calle de Liverpool cuando niño, es adoptado por el viejo señor Earnshaw, patriarca de Wuthering Heights, quien lo protege al grado de marginar a su hijo primogénito, Hindley. Desde esos años primerizos Heathcliff crea con Catherine, la hija de su protector, un vínculo de cariño y camaradería que rozaría las premisas de la hermandad y, con la llegada de la adolescencia, de una equívoca pasión que sin embargo jamás toca los linderos de la carne.

          Luego de la muerte del viejo Earnshaw, el nuevo heredero de la propiedad, Hindley, cobra venganza de los menosprecios paternos y hostiga al foráneo, en ese momento ya adentrado en la pubertad. A raíz de una desventurada confusión, el muchacho toma la decisión de huir y nadie sabe más de él hasta varios años más tarde, cuando regresa mutado en un hombre adulto y fuerte, con dinero y aleccionado en la tosca verdad de los tratos sociales.

          Aun así, persiste una zona de sombra, un signo de interrogación. Pues, si no conocemos los orígenes de Heathcliff, tampoco sabremos cómo logró una transformación tan absoluta e inesperada: ¿qué hizo él durante esos años?, ¿de dónde sacó todo ese dinero? Ante la consistencia del enigma, deseo sumar mi conjetura de lector diletante que ha regresado en varias ocasiones a las páginas de esta novela mayor.

          Debido a sus rasgos agitanados y la mención de Liverpool como el puerto en que lo habría hallado su viejo protector, podría especularse que el muchacho sería el hijo de una prostituta y un marinero de rumbos distantes que tocó tierra en algún momento y luego retomó sus travesías. También, podría señalarse con un tono de cuestionamiento la identidad que la novela plantea entre una piel oscura y una conducta inhumana, en tanto una muestra de los prejuicios raciales de la sociedad británica. Algún estudioso acaso ya hizo una reflexión, siguiendo las de Edward Said en Cultura e imperialismo, sobre los vínculos entre las naciones imperialistas y las colonias dotadas de enormes riquezas y habitadas por personas de piel morena. Todo eso tendría peso, a no dudarlo.

          Hay otras pistas sin embargo que me interesa rastrear.

          El discurso de Cumbres borrascosas surge gracias a la interacción de dos personajes. El señor Lockwood, un hombre culto y pedante procedente de la gran ciudad, renta una de las propiedades de Heathcliff y durante un periodo de convalecencia, para distraerse, pide a la sencilla y humilde señora Ellen Dean que le cuente la historia en torno de su violento casero. En el extenso discurso de esta narradora se van incluyendo los recuentos de una variedad de personajes. Es decir: Nelly Dean es la novelista dentro de la novela: tiene un punto de vista privilegiado pues, por su condición proteica de niñera, cocinera, ama de llaves y confidente, conoce a medio mundo en los alrededores y ha hablado a lo largo de los años con casi todos los integrantes de las familias involucradas en la aparición, ascenso y rapacidad de Heathcliff. Ha escuchado y guarda en la memoria los testimonios, debido al vínculo afectivo que tuvo con las dos familias. Mientras el estreñido Lockwood trae la mirada escéptica del hombre de la ciudad, para quien la historia de Cumbres borrascosas es mero chisme y entretenimiento, Nelly Dean es la representante del apego emocional, la compasión y el cuidado.

           Emily Brontë creó así un personaje para quien recordar y narrar bien una historia es un asunto entreverado a la solidez y pervivencia de los afectos. Muy cercana ha estado Nelly de los hechos que le han causado felicidad, tristeza o preocupación; no hay manera, pues, de que los traicione malévolamente o los sospeche como falsos. La memoria puede perderlo todo, menos aquello que se aloja en las emociones. No es raro, entonces, que Nelly incluso reporte sucesos en los que cometió errores de juicio o que se precipitaron adversamente debido a su impericia. Lo que quiero decir es que Nelly Dean es una persona de fe y digna de fe. Cree en la verdad de lo que han vivido esos seres a quienes ha amado. ¿Cómo podría ella entonces dudar de la naturaleza extraordinaria del amor que une más allá de la muerte a Heathcliff y Catherine? ¿Cómo podría no creer en que el alma en pena de Catherine Earnshaw aún vaga por los páramos de Yorkshire? El origen foráneo y el ánimo escéptico de su escucha, el señor Lockood, la contienen o intimidan, y debido a esa reticencia hace uso de la alusión o la elipsis a la hora de acercarse a los episodios sobrenaturales de la historia.

          Se entenderá ahora por qué me inclino a pensar que esta novela de corte gótico termina asumiendo una explicación maravillosa: el amor de los dos protagonistas sí sobrevive a la muerte de los cuerpos. Esto resolvería la ambigüedad e incertidumbre que se alojan en el desarrollo de todo texto de narrativa fantástica (como lo planteaba Tzvetan Todorov), tensado entre una explicación racional y otra de tipo irreal o mágico.

          A partir de esta premisa, rescato de un breve pasaje de la novela a un personaje de quien nunca se habla. Luego de la primera noche del pequeño Heathcliff en Wuthering Heights recién llegado de Liverpool, la narradora Nelly cuenta: “Descubrí que lo habían bautizado ‘Heathcliff’: era el nombre de un hijo que murió en la infancia, y lo ha usado desde entonces, como nombre y apellido”. Nelly menciona esa única vez a un hijo muerto de la familia Earsnshaw. Es decir: Hindley y Catherine habrían tenido un hermano fallecido en sus primeros años. No sabemos si era el primogénito; no sabemos cuándo murió. Pero el hecho de que el padre otorgue ese mismo nombre al niño rescatado sería la pista central de esta lectura que planteo.

          Pues en distintas instancias los demás personajes señalan a Heathcliff como un demonio debido a su conducta inhumana, mi hipótesis va en el sentido de que el niño rescatado en las calles de Liverpool sería una reencarnación del hijo fallecido. Esta explicación maravillosa sustentaría no sólo su profundo apego casi incestuoso con Catherine, sino también la rivalidad con Hindley (dos hijos varones pelean por la primogenitura) y la devoción que siempre le tuvo el anciano patriarca, el único que habría de intuir la escondida identidad de su hijo muerto con el nuevo habitante de la casa. También esta filiación ultraterrena explicaría por qué Heathcliff no duda en verse como alguien dotado del derecho para apropiarse de todo aquello que pertenecía al señor Earnshaw, quien así sería, pues, su padre verdadero. Y una última señal: a pesar de todas sus crueldades, Heathcliff siempre es atendido y escuchado con una preocupada inclinación afectiva por la misma Nelly Dean, quien parecería delatar una consciencia sobre los auténticos derechos del alevoso protagonista.

          De ser esto posible, la tragedia de Cumbres borrascosas tendría su origen en la conducta de un padre que eligió proteger a un hijo que vuelve de entre los muertos por encima del cariño que merecía también un hijo vivo. Al escoger a Heathcliff, su hijo no confesado, el señor Earnshaw puso en marcha el odio de su otro descendiente, Hindley —quien se supo rechazado y al borde del expolio—, avivó el amor obsesivo de Catherine y todas las secuelas de una historia apasionante de rencores y violencia. Un ejercicio injusto y desequilibrado de la paternidad habría tenido como consecuencia el enfrentamiento a muerte entre dos hermanos.

          De este modo, Heathcliff es, en efecto, no un ser vivo, aunque tampoco un demonio: sería un alma en pena que cobra carne y vuelve de entre los muertos para reclamar su sitio en el corazón de su secreta hermana y sus derechos ante la familia y la tierra originaria

 

Geney Beltrán Félix (Durango, 1976) es autor de las novelas Adiós, Tomasa (Alfaguara, 2019), Cualquier cadáver (Cal y Arena, 2014) y Cartas ajenas (Ediciones B, 2011), el volumen de relatos Habla de lo que sabes (Jus, 2009), los libros de ensayos Asombro y desaliento (FCE, 2017), El sueño no es un refugio sino un arma (UNAM, 2009) y El biógrafo de su lector (Tierra Adentro, 2003) y el tomo de aforismos El espíritu débil (Cuadrivio, 2017). Ha obtenido el Premio Nacional de Ensayo Joven José Vasconcelos (2002) y el Premio Bellas Artes de Narrativa Colima para Obra Publicada (2015). Fue becario de la Fundación para las Letras Mexicanas. Ha sido miembro del Sistema Nacional de Creadores de Arte. Es director ejecutivo de la Casa Estudio Cien años de soledad, en la Ciudad de México.

Mapas

0

I

Comencemos por el principio:
La Tierra  no es La Tierra.
El mapa no es el territorio.
El territorio no es el mapa.

Un mapa es una imagen.
Un mapa es un modo de hablar.
Un mapa es un conjunto de recuerdos.
Un mapa es una representación proporcional.

Los cuatro vientos, los cuatro ríos, las cuatro puertas, los
cuatro pilares de la tierra de los que hablan los mitos no
son más que las cuatro esquinas de un mapa.

Todo mapa es una imagen, un cuadro, una metáfora, una
descripción…
Pero no toda descripción, metáfora, imagen o, para el caso, todo
cuadro es –por necesidad– un mapa.
Pero puede llegar a serlo.

 

II

Un mapa no es más que –como lo dijo el pintor Nabi Maurice
Denis de todos los cuadros– un arreglo de formas y
colores sobre una superficie bidimensional.

Si todo el territorio fuera homogéneo, sólo se acotaría en un
mapa el perfil de los límites del territorio.

No crecen árboles en un mapa.

Un mapa del mundo real no es menos imaginario que un mapa
de un mundo imaginario.

@Alberto Blanco

III

Un mapa no es más que una representación bidimensional de un
mundo tridimensional que recorre un fantasma: el tiempo.

Si hemos podido mapear un mundo de tres dimensiones en dos,
ha de ser posible mapear un mundo de cuatro en tres.

Con un mapa holográfico se podría mapear el tiempo.

Así como la Tierra no deja de cambiar con el tiempo, la historia
de los mapas no deja de cambiar con la historia.
Nuestra idea del espacio cambia conforme cambia nuestra idea
del tiempo.

 

IV

Todo mapa comienza con un viaje.
Pero, ¿todo viaje comienza con un mapa?

El mapa es al viaje lo que el mito es al lenguaje.

Los mapas, al principio, fueron relatos de viajes.
Después los mapas fueron paisajes al ras del horizonte:
narraciones visuales.
Finalmente, vistas a vuelo de pájaro: poemas geográficos.

Un mapa es una manifestación artística del miedo a lo    desconocido.

@Alberto Blanco

V

Ver la tierra desde arriba: arrogancia de un dios impostado.

Al principio los mapas de la tierra siempre fueron acompañados
por los mapas del cielo.
Después los mapas se quedaron sin cielo.
De seguir las cosas como van, muy pronto los mapas se
quedarán sin tierra.

La verdad que se puede decir no es la verdad.
Las palabras no son las cosas que designan.
Los mapas de la tierra no son la tierra.
Las cartas estelares no son el cielo.

Un punto es un pueblo.
Una línea es una carretera.
Una superficie coloreada es un país.
Un volumen debe ser un mapa de la historia.

 

VI

Mapas exteriores: geografía.
Mapas interiores: psicografía.
Las puertas son los sentidos.
Los límites son el cuerpo.

La moral que se deduce de los mapas tiene que ver con una
idea de dominio o –en el mejor de los casos– con una idea
de conservación.

Cuando se piensa en la relación directa que existe entre los
mapas, las ganancias, las guerras de conquista y el
dominio del tiempo, no se puede menos que pensar en el
título de aquel poema de Stephen Spender:
Un cronómetro y un mapa de artillería.
Un mapa a la medida de la ambición de un hombre.
La ambición de un hombre a la medida de un sistema de
referencias.

Todos los puntos de referencia en un mapa ven hacia afuera.

@Alberto Blanco

VII

Los mapas son retratos ideales de nuestra madre.

Los mapas nos miran de frente cuando dan cuenta de las
superficies.
Cuando quieren dar cuenta de las profundidades, nos miran de
lado.

En la infancia de la cartografía no era posible –y, tal vez, ni      siquiera
deseable– deslindar los territorios de la vigilia de
los paisajes de los sueños.

¿Qué son los colores en un mapa sino un sueño?
El recuerdo anestesiado de nuestra infancia.
Las ventanas abiertas en el gabinete del cartógrafo.
Una fuente de la más pura y sencilla dicha.

@Alberto Blanco

VIII

Todo mapa es una isla.

Lo que antes era un territorio salvaje, ya es un mapa.

Toda escritura es fragmentaria.
Todo mapa es fragmentario.

En mapas no se ha andado nada.
En poesía no hay nada escrito.

 

Alberto Blanco nació en la ciudad de México en 1951. Estudió química y filosofía, y una Maestría en Estudios Orientales, en el área de China. Es poeta, traductor y ensayista, además de ser bien conocido como artista visual. A partir de la publicación de su primer libro, Giros de faros, en 1979, ha publicado 36 libros de poesía en México y quince más en otros países, además de diez libros con sus traducciones de poesía, otros tantos libros de ensayos sobre artes visuales, así como una poética en tres tomos que le ha valido el premio “Xavier Villaurrutia” en México. Su obra no sólo es extensa, sino muy diversa. En ella ha explorado un sinnúmero de formas poéticas: desde las más arcaicas y tradicionales hasta las estrictamente contemporáneas y experimentales. Sin embargo, el autor insiste en que toda su vida ha estado trabajando sólo en tres libros: un libro de poemas, otro de ensayos sobre artes visuales, y una poética. Sus poemas han sido traducidos a más de una veintena de idiomas. En 2018 fue nombrado Creador Emérito.

Latitudes of Bilingual Memory: Nostalgia, Cartography and Identity Maintenance

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Abstract:
Chávez-Silverman’s transcultural experiences, multilingual encounters and globetrotter excursions in the Scenes from la Cuenca (2010) open new ways for a literary analysis of contemporary Latinx experience when considering nostalgia as a catalyst and theoretical approach. Within the pages of the Scenes, the reader encounters how the author frames her globetrotter life-journey through bilingual memories, questions her Latinx identity in the evolving urban and geographical spaces and rediscovers her inner self. While Killer Crónicas portrays an active Latinx globetrotter experience Scenes frames urban locales and linguistic coalitions catalyzed by the author’s nostalgic recollections. This article examines the composition of Latinx identity and bilingual memory by providing an interdisciplinary examination of Scenes.

          This paper employs Boym’s off-modern typology of nostalgia (2001) to approach literary manifestations of longing induced by contemporary urban and global experiences. Furthermore, the project approaches psychological implications of nostalgia and engages Davis’s Discontinuity Hypothesis and Ascending Orders of Nostalgia as functional platforms to examine the role of nostalgia as a lens of self-analysis that partakes in Latinx identity maintenance and continuity. The article denotes how Chávez-Silverman fuses her globetrotter experiences and reconfigures undesirable life events into a coherent life narrative through the implementation of nostalgic catalysts and bilingual memory.

 Keywords: Nostalgia, Latinx, Crónica, Chávez-Silverman, Identity Maintenance, Cartography

 

The twentieth century began with utopia and ended with nostalgia. Optimistic belief in the future became outmoded, while nostalgia, for better or worse, never went out of fashion, remaining uncannily contemporary.

Svetlana Boym “Nostalgia and its Discontents”

          Although nostalgia can be traced to antiquity, it came of-age during the Romanticism; however, it is not historically universal but rather epoch-oriented singularity. In the age of internet and globalization, the socio-cultural and urban milieus embrace widespread change over lesser periods amplifying nostalgia as a devoted syndrome of 21st century Human Condition illuminates Boym in the Future of Nostalgia. On one hand, nostalgia borrows vitality from historical, national and political events, which occurred in homelands. On the other, Boym reveals yearning enhanced through progress, urbanization, modernization and capitalist development, frequently transforms into a deep national, social and cultural spectacle. Nostalgia repetitively feeds on spatial and temporal separation and the lingering notion of impossibility of return to those old days. Once fast-tracked by progress, nostalgia puts an individual in the forefront who contemplates memorable signs and landscapes of memory while lamenting the irreversibility of time. What one may encounter, is an intersection of nostalgia, estrangement and modernity denotes Svetlana Boym (2001). Boym’s observation can be considered valuable platform in examining contemporary globetrotter U.S. Latinx experiences that emerge as a reaction to passage of time, social and urban reconfigurations, and diasporic or global movements.

          A salient marker of the U.S. Latinx texts often includes themes related to binary powers, loss and nostalgia, assimilation and identity development. Within the literature, readers often note the struggles of U.S. Latinxs living on the margins of both Hispanic and mainstream American culture, shaped by the historical exodus, post 1960. The political turmoil in Latin America predating the 1960s, such as Operation Bootstrap (1950-1960), the fall of Leonidas Trujillo’s Dictatorship (1930-1961) and the Cuban Revolution 1959, triggered large migration waves from the Caribbean mainly to the U.S. as well as produced outbreaks of nostalgia captured in literary projections of longing (Pawelek 2015). Nostalgia infiltrates the life narratives of many immigrants and provides a valuable platform to examine the contemporary U.S. Latinx experience, which typically includes travels between two locales.

          Nostalgia frequently progresses in literary texts as a reaction to the passage of time, social and urban reconfigurations, historical events and diasporic movements (Pawelek 2015). These personal transitions and collective events, captured in the literature written by U.S. Latinx writers and so-called 1.5 generation –those who came as children or adolescents to the United States, denote their experiences as they assimilate linguistically, socially and culturally to the mainstream. Works by Christina García, Sandra Cisneros, Junot Díaz, Esmeralda Santiago, Gustavo Pérez-Firmat, Susana Chávez-Silverman, Angie Cruz, among others, portray the issues of longing and belonging while factoring in the realities of adjusting to a new way of life, including the process of acquiring a new language, as well as social interaction with others in both Spanish and English.

          A notable feature of (semi)autobiographical literary texts written by 1.5 generation writers such as Santiago, Díaz and Pérez-Firmat is the inclusion of lexical items and popular expressions from Puerto Rican, Dominican and Cuban varieties of Spanish mixed into English sentences (Pawelek 2015). These Spanish insertions and phrases often reference socio-cultural values pertaining to life on the island as well as the portrayal of vivid dilemmas of what it means to be a 1.5 generation émigré and assimilate into the mainstream culture, society, and language. 1.5 generation Latinx writers question landscapes of memory, the mainland experience and the past predating the diaspora. They explore civic landmarks, national and cultural symbols, customs, and personal memories searching for dispraised fragments of what they left behind and who they became after having spent more time in the society of residence than in their native lands.

           Individuals who came as children or adolescents, transit across borders and find themselves in cultural and linguistic intersections shaped by hyphenated, bi-cultural or hybrid experiences (Pawelek 193). While the works of Santiago, García, Díaz and Cruz focus on bilateral geographies, and life between the Caribbean islands and the continental U.S., Chávez-Silverman’s works incorporate a wider scope of worldwide, pan-Latinx multicultural experiences and linguistic performances. Further, distinguishing Chávez-Silverman’s works from her contemporaries, Killer Crónicas and Scenes from la Cuenca de Los Angeles y otros Natural Disasters (Scenes) employ radical bilingualism using Spanish and English as a prominent feature of both texts, as well as the incorporation of other languages, denoting the author’s globetrotter experiences.[1]

            Theoretical perspectives that examine evolving pan-Latinx identity represented by globetrotter and transcultural experiences, highlight nostalgic reactions in a contemporary world in sustained bilingual mode, present in Scenes, are novel literary features and remain relatively unexplored in the U.S. Hispanic literary context. This paper implements theoretical perspectives by Boym (2001) and Davis (1979) to articulate nostalgic catalysts and their functionality in respect to globetrotter Latinx experiences and identity maintenance in Chávez-Silverman’s Scenes.

Susana Chávez-Silverman’s crónicas

          Scenes emerged from a grant in Montalvo Arts Center in California and similar to Chávez-Silverman’s previous work Killer Crónicas (KC), it originated from the author’s globetrotter journeys, e-mail correspondences, diary entries and letter exchanges. “Scenes of the Los Angeles Basin” consists of profoundly intimate, reflective epistolary pieces dedicated to specific muses, friends, loved ones who passed away or ghosts from the author’s past –detailed by their true names in “Cartografía humana/Space Map Crónica.” The vignettes trace Chávez-Silverman’s personal history from la Cuenca (California) to South Africa, Mexico and back to the United States. Moreover, they detail in a remarkable bilingual style the author’s memories anchored in distant geographies, urban spaces, elusive fragrances and objects of memorabilia. Notably, her bilingual crónicas filled with profound joy and loss are induced by an overpowering presence of nostalgia. The author emphasizes her globetrotter experiences through bilingual Spanish and English prose and occasionally includes terms in German, French and Zulu to reference her travel experiences.

            The majority of scholarly analyses of Chávez-Silverman’s crónicas examine the use of language found in her works (Torres, Spyra, Derrick, Casielles-Suárez). Other scholars have examined the crónicas with an interest in the role of global experiences and their relation to cyberspace (Allaston and Browitt), as well as linguistic transnational performance (Lee). Furthermore, Pawelek and Derrick examined KC under the lens of the literary representation of nostalgia as a response to globalization triggered by the author’s ethnographic, multilingual and multiethnic global encounters, which manifest through Chávez-Silverman’s hybrid mixture of Spanish and English and illuminate her pan-Latina identity. Pawelek and Derrick suggest the examination of U.S. Latinx literature in respect to nostalgic catalysts and symbols with an interest in how these modalities affect the evolving pan-Latinx identity.

          While the antecedent, Killer Crónicas accounts for the author’s active journey through Chile, Argentina, South Africa, Spain and Mexico, Scenes frames urban locales, distant geographies and linguistic coalitions induced by the author’s introspective journey, predominantly composed by unfathomable loss and joy, and catalyzed by nostalgia. The second part of the title, otros Natural Disasters accounts for to the revival of Chávez-Silverman’s experiences of loss, blocked off miscarriage memories that she did not have access to prior drafting her memoir. In this context, the writing retreat in Montalvo Arts Center in California, although a stationary location, resurfaces as a sanctuary of the mind that allows the author to access latitudes of bilingual memory. Arguably, Chávez-Silverman reactivates expelled memories through implementation of nostalgic discourses and ethnographic symbols, and consequently this process empowers her to reconfigure past experiences into coherent life-narrative culminating in identity maintenance.

          Due to the geographic, cultural and global experiences and linguistic complexity found within Scenes, the current article applies Boym’s (2001) “off-modern” typology of nostalgia to articulate representations of longing derived from urban and globetrotter experiences. Moreover, it employs Fred Davis’s Discontinuity Hypothesis (1979) as theoretical means to discuss nostalgic recall as a psychological filter of self-analysis that partakes in identity maintenance and continuity.

Nostalgia: From Homesickness to a Resource, a Brief Overview

          Parting from Davis’s Discontinuity Hypothesis, which has psychological consequences such as “fears, discontents, anxieties or uncertainties,” Wildschut et al. (“Nostalgia: Content, triggers, functions” 231-232) assessed the regulatory role of nostalgia. They distinguished four key psychological functions, (1) nostalgia serves as repository of positive effect, (2) nostalgia carries existential meaning, (3) nostalgia fosters affiliation or stronger social bonds, and (4) nostalgia maintains and increases self-positivity. Sedekides et al. (“Nostalgia counteracts”) followed by expanding on the regulatory function that takes place as nostalgia progresses from aversive states including negative life events such as divorce, break ups and the death of loved ones. Thus, these states may lead individuals to encounter self-discontinuity or restore self-continuity. As a result, Wildschut et al. (“Nostalgia as a repository”) distinguished social connectedness as a chief factor that counters self-discontinuity.

          Aside from psychological and sociological research directions, the phenomena of nostalgia have made a reappearance as a syndrome of contemporary times. Boym (2001) notes that modernity and modernism are responses to the condition of modernization and consequences of progress. Modern nostalgia is related to the mourning for an impossibility of return for a “loss of an enchanted world with clear borders and values” (8). In this light, modernity is an ambivalent, contradictory, critical and reflective on the nature of time as it encompasses fascination with the present and longing for another timeframe. Boym further explains that what drives migrants like Chávez-Silverman to tell their story is diasporic intimacyor a strategy of finding a feeling to substitute for home (50). In this context, nostalgia invites dislocated individuals to rethink their broader life narrative in the context of contemporary experiences and notion of home.

          The phenomenon of nostalgia penetrates diverse disciplines ranging from medical and social to the field of media, marketing consumption, including psychological and cognitive methodologies. This brief literature review favors presence of nostalgia across disciplines, societies, cultures, languages and periods. The next section portrays theoretical frameworks employed to examine the contemporary Latinx manifestations of nostalgia and psychological implementation of nostalgic discourses that foster identity maintenance in Scenes.

Theoretical Methods:

          Ethnographic and psychological elements of nostalgia anchored in Chávez-Silverman’s Scenes are topics of particular interest. Scenes offers a vivid testimony of the author’s globetrotter experiences, geographical, social and cultural transitions and linguistic hybridity that is filled with loss, joy and yearning progressing from the passage of time, personal dilemmas, urban and global experiences. Boym’s aforementioned approach highlights a conflicted relationship between individuals and modern modalities that foreshadows manifestations of nostalgia while Davis’s study proposes nostalgia as a resource of identity maintenance progressing from events that cause discontinuity in one’s life. In respect to Chávez-Silverman’s personal and social transitions Davis’s Discontinuity Hypothesis and Ascending Orders of Nostalgia are plausible platforms to consider as they highlight the role longing partakes in events that cause discontinuity in one’s life, yet also functions as a psychological resource in respect to identity maintenance and continuity.

          Regarding the latter (global transitions and urban experiences), Boym’s “off-modern” approach to nostalgia as a byproduct of contemporary times offers a valuable paradigm in analyzing Latinx experiences and indisputably can be extended to pan-Latinx and global perspectives. According to Boym (2001) yearning augmented through modern day technologies, capitalist developments and globalization, more frequently transforms into a profound social and cultural narrative. In this regard, Boym’s off-modern nostalgia invites individuals to excavate landscapes of memory rooted in specific timeframes and urban locales, but those who engage and cope with nostalgia, face estrangement and continuity, memory and forgetting, fascination and disdain. In a wider context nostalgia as a reaction to social and urban reconfigurations, modernization and global movements in the contemporary times can be regarded as a vital angle of analysis when considering Chávez-Silverman’s Scenes as a product of her bilingual testimony of Latinx and transcultural experiences.

          Textual symbols of nostalgia and Chávez-Silverman’s recollections in continuous Spanish-English bilingual code perpetually emerge within the crónicas. Within this context, Davis and Boym provide a theoretical space that underscores sentimental catalysts and delivers a platform to analyze how bilingual nostalgic recall partakes in Latinx identity formation and maintenance, and foregrounds a testimony of contemporary Latinx literature. The next section employs Boym’s off-modern typology and delineates Chávez-Silverman’s approximation urban recollections.

Nostalgia, Cartography and Urban Landscapes:

          The recollection inspired by modernization of urban landscapes and a shifting perception of time are topics of particular interest in analyzing Chávez Silverman’s bilingual chronicles, Scenes from la Cuenca and other natural disasters. As the title suggests, the author mediates between her home, or “la Cuenca” and “natural disasters” or other natural losses. Vivid aspects of the Urban Crónica allocate the subject as both the chronicler and a historian documenting oneself and what pertains to the collective urban experiences (Pawelek and Derrick 2018). Reactions against passage of time, modernization, the internet era, that the author witnesses awaken longing and invite Chávez-Silverman to reconstruct her life-narrative in the evolving metropolitan milieu.

           Chávez-Silverman contemplates “¿Habré cambiado? Yo tanto que ya no puedo regresar, no longer recognize myself en estos landscapes urbanos?” (29). A mixture of entrapment and fondness within urban locales are elusive and call the author to explore diverse memories and experiences rooted within specific timeframes, and metropolitan areas. The rhetorical questions resurface as a navigational device and comprise an urban undertone in “On Going Back Crónica”:

          ¿Cómo aguanto tanta nostalgia? How can I even bear up bajo el peso de volver (volver, volveRRRRR) este spring/inpaciente verano, tanto revisting nuestros former lugares en el mundo: San Francisco, the Bay Area? […] Después de dos decadas away. Hubo muchos returns visits. Pero that’s all they were: two-to three day escapades de SoCal, cuando todavia hangueaba con los remaining friends (so many had died of AIDS, or move away…) 36.

          In the above passage, the city no longer wavers toward the future, instead promises a renewal of the past embedded in specific timeframes, topographies, and shared social experiences. The urban revival of memories is no longer futuristic, but rather nostalgic. Nonetheless, the direction of “volveRRRRR” or return is misleading. Related to such ambivalence, Boym elaborates, in the off-modern scope that longing, estrangement and affection form a junction and confuse the sense of direction (The Future xvii). In the off-modern way, individuals like Chávez-Silverman revisit former places to feed on longing yet is not a place they seek. Nostalgic individuals face juxtaposed reactions such as absence and presence, memory and forgetting, continuity and estrangement.

            After two and half decades, the familiar surroundings lose their charm. The occasional escapades to SoCal with the remaining friends become mournful signifiers of the common past, place and memories of those who perished. In this off-modern scenario, Boym remarks that diasporic intimacy drives individuals to share their stories. What defines diasporic intimacy is that it is composed and empowered by defamiliarization and uprootedness, and can be approached from indirection and intimation, and oftentimes includes stories as well as secrets (Boym 235). Chávez-Silverman inspired by diasporic intimacy, confronts its modalities. Correspondingly, she delivers a discourse in foreign languages that reveals the inadequacies of translation and indirection while the intimate secrets resurface within her urban chronicles of life.

           In a similar manner, Chávez-Silverman continues her bilingual discourse: “En estas two and a half decades, post SIDA, y luego, todo lo del dot-com boom y bust. Tanta yuppification y millonarios, all over…Tan hollow. Tan . . . después. Yuck. Casi irreconcible. What remains?” (37). Californian places of the author’s adulthood have been altered by time, progress and the age of internet labeled dot-com boom y bust. Chávez-Silverman instead of finding coherence in the new millennium, faces a sense of defamiliarization, estrangement and affection which dwell on technophobia and produce nostalgia. While Chávez-Silverman engages in sentimental dialogue with the past, the civic theater emerges as an alternative microcosm of memories and a somber reminder that only those shared memories can restore the golden moments. In an off-modern fashion, nostalgic recollection is not a place that the author seeks, but rather to reconstruct a timeframe. This evocation sets an undertone to her urban chronicles and foreshadows a mental journey inspired by the author’s globetrotter journey and life longings.

          While Boym’s nostalgia highlights an impossibility of a return to specific timeframe and places, in an off-modern way, it sends the individual elsewhere feeding off both negative and positive states that are anchored in the author’s past. The upcoming segment employs Davis’s theory to ponder how Chávez-Silvermann’s nostalgia progresses from adverse states, attains psychological dimensions, and partakes in identity maintenance.

Feeding off/on Nostalgia: Pain, Loss and Desire   

          In an interview with Daniel Olivas from La Bloga, Chávez-Silverman comments: “[t]he act of writing—even when grounded in acts of remembering—always implies an art of composition…This book [Scenes from la Cuenca] is more ‘soul baring’ than Killer Crónicas, in a way; it deals with visceral memories and feelings I didn’t even have access to.” While drafting Scenes, the author reaches the core of her inner self, and gradually unearths those visceral memories and feelings. In Scenes, pain, imagination, and eros fuse and form an interplay of memory and life longings. The subtitle “other natural disasters” suggests the author’s soul baring mediation and other losses. The text gradually uncovers the author’s love-hate relationship with Howard (South African lover), a failed attempt to move back and live with him in Pretoria, Africa, and the recovery and eventual acceptance of sealed off miscarriage memories. These modalities elicit the soul baring meditation, which prevails in, “The Montalvo Diary,” infiltrates “Momentos Hemorrágicos,” “On Going Back,” and culminates in “Currawong” Crónicas. Accordingly, current work focuses on the selected Crónicas. The analysis traces the implementation of author’s nostalgic catalysts and delineates how they partake in reconciliation of blocked off experiences, and how these nostalgic practices lead to maintenance of the author’s Latinx identity.

          “The Montalvo Diary” reveals Chávez-Silverman’s habits of remembering and existential questions progress from the past. In the prelude, the reader encounters three quotations: “Yo no puedo olvidar nada. Dicen que es mi problema” (Amuleto, Bolaño), “[…] algo de pasado despertó y nos ha emborachado. Nos ha puesto a sonar” (Magia blanca, Piña), “The past isn’t dead and buried. In fact, it isn’t even past” (As I Lay Dying, Faulkner), (Scenes 17). All three entries evoke nostalgic behaviors towards the past and foreshadow Chávez-Silverman’s query. Bolaño’s highlights a past that one cannot simply forget because it is too vivid. Piña’s references intoxicating memories that awake daydreams, while Faulkner’s highlights how the past regains vitality in the present. These three quotes resonate the author’s quest and prelude a revival of bittersweet recollections. In this context, the interplay of bilingual memory and life longings foster a critical lens of remembrance and entail a leitmotif that prevails throughout Crónicas.

             Davis remarks that nostalgia, as a response to the experience of loss, can be regarded as an essential resource to cope with the discontinuity in one’s life. Suitably, nostalgia arises from ambivalence and may resurface as a useful lens that assists subjects with feelings of loneliness and loss (of a lover, friends, an unborn child), as well as social changes, all experienced by Chávez-Silverman. Specific catalysts such as sensory agents, scents, tunes, places, foods, and people (friends, family members, etc.) trigger those states (Heeper et al.). Also, a romantic partner, relationship break up, or a divorce might stimulate a nostalgic episode (Wildschut et al. “Nostalgia: Content, triggers, functions”, Sedikides et al. “Nostalgia counteracts self-discontinuity”).

         Chávez-Silverman’s awakened memories follow patterns of pain, desire, and loss associated with her true love: “My reconnecting with Howard now. Duele, de algún modo. Un chingo” (Scenes 26). These experiences bring forth vivid images, which fuse both negative and positive feelings and emotions, such as love, pain and loss.  As pointed out by Davis, nostalgia is “the search for continuity amidst heats of discontinuity” (35). In this view, the disconnecting elements of Chávez-Silverman’s life must first become building blocks. Her life experiences recurrently consist of multiple geographies, languages, timeframes, and self-perspectives.

          To this point, the author comments on past locales and her former self: “My San Francisco and South Africa self. Escendida de mi pasado. De Howard. De la que fui. Y sigo siendo, coño. I am still her, ¿no?. Ella es yo” (Scenes 24). Chávez-Silverman recognizes herself as an object of analysis on the verge of progressive transformation and acknowledges the need to reconfigure her self-perspective. The author’s life longings alternate with and highlight the pathos of loss and transition where I, yo, and ella are not separating (escendida) her past. Rather they illuminate cartographical references to distant geographies, timeframes and bilingual modes of remembering. These references emerge and merge via Chávez-Silverman’s act of remembering and re-drafting of her bilingual life experiences. This mediation between I, yo and ella corresponds to Davis’s “Interpreted Nostalgia”, as it targets nostalgic recollection, and aims “[to] cultivate appreciative stances toward former selves” and emphasizes continuity between the past and present (Davis 35). At the same time, upon the revival of those bilingual memories, Chávez-Silverman naviagtes various geographies, languages, and life stages. She charts her own cartography spanning North America and Africa, while mediating between herself, Howard and other loses. Davis’s Discontinuity Hypothesis proposes that nostalgia is an effective resource for coping with an existential threat, and accounts for a depository reaction to events that prompted discontinuity in one’s life. Similarly, Chávez-Silverman’s Scenes mirrors a self-narrative filled with loss, desire and longing.

          So far, we identified Chávez-Silverman’s personal experiences with Howard and her globetrotter journeys and urban transitions as a basis of a nostalgic enactment. In Scenes, this mental journey can be traced to a much earlier stage of the author’s life. The next segment focuses on Chávez-Silverman’s 1982 diary and her approximation to blocked off miscarriage memories and employs Davis’s premises to examine how longing progresses from negative life events, achieves regulatory functions, and ultimately fosters identity maintenance and continuity.

1982 Diaries and Reassembly of Life Narrative

          The author’s 1982 diary stands out ­­­as token of bittersweet memories and a sentimental medium, which holds silent memories of her miscarriage. Chávez-Silverman comments: “En ese cuaderno chino de 1982. I had blocked that memory [miscarriage] totally, suppressed it. […] all the feelings of loss from twenty-six years ago –de tremenda promesa y amor lost” (25). Fred Davis’s key finding indicates that nostalgia may attain soul healing dimensions because it is capable of countering psychological ills by ‘fostering an appreciative stance towards former selves; reinterpreting “marginal, fugitive, and eccentric facets of earlier selves” (44-45). Upon revisiting her diary so many years later Chávez-Silverman, unlocks once expelled memories, which she labels “la caja de Pandora” (26). The Greek mythological reference resonates the difficulties Chávez-Silverman must overcome in order to retrieve those eccentric memories of tremendous promise and lost love. Chávez-Silverman revisits the 1982 memoir, carefully recounting the broken fragments of her memory and fostering an appreciative stance towards her former selves. Chávez-Silverman further comments about this process:

          “Part of my past burning up. Burning away. Esos extranos, harsh winds de ayer, they must be fanned it. Hoy quiero –necesito–escribir […] en esta relectura, in my broad calligraphic fuchsia pen-strokes en la página. Coupled, now with a keening pain of, the awareness of, no, el reconocimiento de la perdida” (Scenes 27—emphasis)

          In Davis’s view, (35-37) longing perceived as an empirical catalyst aims to establish the dialogue with the past from the present perspective. In order to achieve continuity, one must examine the broken strands of memory. Similarly, Chávez-Silverman unfolds the painful past and gradually digests it. Metaphorically speaking, “harsh winds de ayer” leave a bad aftertaste of nostalgia and a reconfiguration is needed. With this regard, the act of rewriting and rereading creates a growing awareness of Chávez- Silverman’s painful loss and love, the lost entity of her past. This reasoning parallels what Davis posits as, “yearning for return, albeit accompanied often by an ambivalent recognition that such [return] is not possible” (21). Paradoxically, once an individual removes oneself from past yearnings and embraces present perspectives, a transformation may occur.

          In a broader picture, nostalgia’s functionality allows for interaction with strains of the past, present and future, as well as with an individual and their collective experiences. Chávez-Silverman engages these memories through longing (for geographies, urban spaces and languages) and loss (of loved ones and miscarriage). Most importantly by indicating the impossibility of a return, a forthcoming acceptance of the loss may occur. This notion can be traced equally to the author’s allusion to Lacan, “esa haunting presencia de una ausencia” which mirrors the author’s search for missing absences (Scenes 27). Chávez-Silverman’s desire to liberate herself from loss and reception of absence echoes her quest in the pages of the memoir, what forms an undertone of the narrative. The unifying process of dispersed memories gradually leads to “el reconocimiento de la perdida” (Scenes 27). Longing, loss, and inability to return cross paths and mitigate between Chávez-Silverman’s former selves and her losses. Davis (35-38) argues that the recognition of the loss as unattainable through acceptance of lack, serve as a chief factor within the Ascending Orders of Nostalgia. In turn, the mnemonic practice once activated, fosters self-analysis through all three constitutes absence, loss and longing, thus may lead to self-continuity.

          “My Country Crónica” underlines the author’s dilemma: “for so many years the slightest reference to Suid-Afrika, just the slightest mention, and I’ll get teary, nostalgic: I was there, I lived there. Was it when I began to embrace my Latinidad, con ahinco? (Scenes 54). Although longing progresses from negative or bitter life events and memories with Howard in South Africa, it achieves regulatory functions and questions her identity as Latinx. The analysis of the negative self-discontinuity experienced by Chávez-Silverman, leads her to implement experiences from diverse geographies and languages, and allows her to mediate between her collective experiences. Experiences digested after 26 years through the lens of loss, lack and longing, resurface as a medium nurturing personal stability. From this perspective, nostalgia emerges as both existentially and socially valuable qualities. It provides a foundation to analyze change, to reconcile it with the remembered past, and relate it to the strands of continuity in the present. These troublesome experiences transpire in “Montalvo Diary” and culminate in “Momentos Hemorrágicos Crónica.”

          The Montalvo residency in Chávez-Silverman’s studio accounts for much more than an intimate grant-writing retreat. The author’s solitary moments in her “glass walled studio,” grow into a sensitive oculus where the author revitalizes her past (Scenes 19). In the author’s own words: “[o]nly here in this Montalvo tunnel or memory vortex did its heel-tapping magic take effect. So here, now let me rewind, Let me remind you [Howard]. Let me tell you, my way” (Scenes 114). Thus, the Montalvo residency facilitates emancipation of her painful memories and activates what the author labels as memory vortex. This memory tunnel can be regarded as a lens of empowerment and self-analysis, capable of fusing the author’s past life experiences between self and other. The addressee in question, Howard, stands out as nostalgic medium awakening latitudes of intimate memories. He is highlighted in her 1982 diary as her true love, and is the source of loss, pain and loneliness. Thus, the bittersweet perceptions of the shared experiences with Howard opens a space, which enables the author to mediate between her previous and current selves and reconfigure those stages in her autobiographical narrative. At the core of this mnemonic journey, the author comes to terms with her blocked off miscarriage memories that resurface during her and Howard’s joint Mardi Gras trip in New Orleans:

I am remembering with you. Abrí la caja de Pandora, I clicked my heels here in this Montalvo Emerald Forest y los ruby slippers de estas páginas me transportan patrás, back to San Francisco, to New Orleans. Back to you. Estas diary pages, with me all this time, todos estos años this memory, esta sangre (Scenes 115).

In this excerpt, the past gives vitality to the present, both periods fortifying the formation of Chávez-Silverman’s life experiences. The ruby slippers emerge as a sentimental memory marker, a catalyst resurrecting shared past. This process indulges the movements between distant geographies, US, New Orleans and South Africa, as well as personal dilemmas and mutual experiences with and without Howard. Essentially, the imaginary trip culminates in rediscovery and acceptance of her suppressed memories. The author comments: Leí de la sangre, our blood/loss, y te juro, Howard, era como el so-called New World. Like a Discovery, uncannily, rather than retrieval, a remembering…ultimately, los funcionamentos de la memoria (Scenes 116). Remarkably, this longing first bridges the geographical displacement and estrangement from her lover, and then liberates her miscarriage memories. In respect to Davis’s Interpreted Nostalgia, the memory itself resurfaces as the entity in question. this retrieval and rediscovery of miscarriage memories becomes a product of analysis (37).

          Concurrently, the author’s bilingual memories transcend time, place, and geography, and are retrieved, understood, and finally accepted. The recollection process constitutes of longing, loss, and the acceptance of the past. This transformational process serves as a basis of Chávez-Silverman’s mnemonic journey. Nostalgia’s power of recollection holds both existentially and socially valuable qualities. They resurface as a tool allowing individuals to comprehend change, settle with the remembered past, and relate it to the present as means to enable identity maintenance and continuity. This intimate dialogue aids Chávez-Silverman in reconfiguring undesirable life events and threading together her past, present and future into coherent Chronicles of Life while accepting other natural disasters or losses.

Conclusions

          Although the historical origins of nostalgia considered it as a medical disorder connected to homesickness, it currently represents memories and experiences that induce longing featured in literary, psychological and sociological discourses. As pointed out by Davis, Sedikides et al. “Nostalgia counteracts self-discontinuity”. Nostalgic recall often illuminates transitory or migrant experiences, which engage both the individual and one’s cumulative experiences, and highlights its regulatory functions. In this context, the notion of nostalgia serves a plausible literary platform for examining pan-Latinx globetrotter experiences in the 21st century as the contemporary U.S. Latinx experiences subsequently encompass urban and global transitions, modernization and the increased use of multiple languages. I this light, the lens of nostalgia provides a valuable examination of these experiences in relation to global encounters and socio-urban reconfigurations present in Scenes. Within the text, we note evidence of these multi-geographical experiences represented through the author’s creative use of sustained code switching. Chávez-Silverman’s mode of self-expression and incorporation of nostalgia allows her to recall events, continue and maintain her pan-Latinx identity. Thus, the author is able to revive her globetrotter experiences through recalling bilingual Spanish and English, while longing and the search for missing threads, provide an undertone to her crónicas, and prompt a mnemonic journey to her inner self.

          As a result, her innovative linguistic code illustrates diverse instances of nostalgic recall progressing from negative life events, yet in turn; the engagement of bilingual memories foster regulatory functions of longing and culminates in the continuity of her pan-Latinx identity. In conclusion, through the lens of nostalgia as an empirical catalyst, the paper analyzed the ways in which Chávez-Silverman revitalizes remote urban experiences, reconfigures her fragmentary past through meditation with undesirable life events that illuminate loss, lack and longing. Future areas of study could examine (a) the functionality of nostalgia as a cognitive resource related to identity maintenance and (b) analyze memoirs written by U.S. Latinx authors with a comparative interest in the ways they utilize nostalgic catalysts in their texts.

[1] The Simple Nostalgia is a unexamined state of beliefs about a past where everything was happier, healthier, the individual does not reflect critically upon the past. Reflective Nostalgia takes into account a critical consideration and connects an individual with his or her historical and social events. Interpreted Nostalgia is a critical account of nostalgic recollection itself with exponential power to “cultivate appreciative stances toward former selves” and emphasizes the continuity between past and present (Davis 35).

 

BIBLIOGRAPHY:

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Derrick, Roshawnda. “Personal Interview with Susana Chávez-Silverman.” Los Angeles, California. 2015.

Díaz, Junot. Drown. Riverhead, 1996.

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Home Sweet Home

0

 

No
extrañaré
nada,
no
habrá
nada,
qué
extrañar:
si
da
la
casualidad
que
hubiese
algo,
un
cacho
de
cuerpo
óseo
con
entendimiento,
cuerpo
enamorado
entre
dos
chubascos
y
unos
matorrales
de
monte
bajo,
quizás
en
un
seto
de
alheña
y
lagartos
o
un
techo
de
terraza
habanero
con
salamandra
de
ojos
botados
te
extrañaría(de
la
indefensión
sacando
fuerzas
de
flaqueza
contra
la
Imbatible,
la
de

misma
Pagada,
Lechuzona,
Calaca
insustancial)
tal
y
como
Guadalupe
en
vida
te
extrañaba
a
diario
durante
años
en
casa.

 

DE LO PINTADO A LO REAL

Esa cabeza llena de pájaros, la oía desde que
tengo uso de razón,
y a la defensiva in
mente respondía
(respondo) calandria
a ruiseñor, especie de
responso, monólogo
en parte autista (no
lo soy) alcotanes,
grullas, pelícanos,
el águila real y la
tiñosa, fragatas,
velámenes, zarpar:
transversal. Alejarse
la nave de los locos,
del marinero
inmemorial que le
asestó al albatros,
chotacabras (México)
chotacabras (Humboldt),
avutardas, cuervos para
la muerte, en Cuba
gavilanes (el Kid
Gavilán) marbellas:
la exaspero hasta el
día de hoy, va para
veinte años de su
defunción y todavía
la exaspero.

Una fantasía (aves) otra fantasía (alturas) y dale que
te pego: adentro, me
concentro, vaciar,
vaciarme, entorno
la vista, la cabeza
se me corre,
nomeolvides,
minutisas, celeste
Aída, hortensias
a dos colores,
pérgolas: y
platabandas. Mi
vecindario, en
cada casa un jardín,
portales, un columpio
obliga oscilar el tiempo,
el tiempo se come al
tiempo, fantasía la
aurora boreal, voy
para muerto.

En los pernos a la entrada sombrero de lona, salacot,
sombrero de castor,
son historias
verdaderas, la
Alpujarra, arrozales
de China, Safed y
la judería de Israel:
en la alcándara
donde hubo azores
demudados cuelga
la capa de hule
verde (bilbaína)
para posibles
temporales: siete
objetos en la repisa
de la blanca chimenea,
pecios de una vida
cada uno con su
historia, lo que no
tiene historia soy
Un trompo con
la púa rota, un chino
sentado sobre peana
palo de rosa, un
juguete hindú para
los niños muertos,
qué niño muerto ni
nada eso son
chorradas, dos
platillos para el
saké, los tengo
hace treinta años
por no decir
cuarenta, costaron
99 centavos pieza,
y ahí están (intactos)
les paso a diario
bayeta, de dónde
vendrán: y la rosa de
plástico que tuvo
mamá en un florero
de hojalata, rosa que
hiciera con sus manos
reumáticas qué edad
tendría cuando descubrió
aquella afición, hacer
flores de plástico con
miga de pan, flora que
la sostuvo hasta el
final: aprendió el oficio
en México con la tía
Chiquitica, se tiraban
las tardes haciendo
flores, bordaban,
miraban juntas las
musarañas, no
hablaban, a mí me
remitían a otras
fantasías (propias)
mayores recogimientos.

EL reloj que destronara el tiempo, reloj desorejado,
orín, no tiene mudanza.

Y el pisapapeles comprado en un mercado de
pulgas en España pisa
una resma de poemas
que iba a escribir.

No fueron fantasía los jueves con mi padre almorzar
en Las Maravillas
adonde Rogelio,
no hay mejor
camarero, a mi
padre lo llamaba
don David,
pedíamos siempre
sopa de chícharos
y un filete miñón
encebollado mucha
cebolla Rogelio por
favor: 1957. Y era
que en casa los
jueves se comía
pescado, anatema
para mi padre, y fu
p’al gato, reíamos y
yo, 1960 (Artur
Lunkdvist, “estoy
con los revolucionarios
hasta que ocupan el
poder”): salí por
Rancho Boyeros
a Nueva York, un
matrimonio desastrado
y el cuento de nunca
acabar.

 

UTOPOS

Llueve a cántaros, una lluvia sedosa al bies, aguas
mansas llaman en casa
a aguas menores, la
vaca no se mueve:
tintinea el cencerro,
ojos de vaca
entornados bajo el
agua, no corre viento,
se lo lleva el agua,
la vaca oye chapotear:
las mujeres desnudas
fregotean sus cuerpos,
la India aprovecha el
momento, hora sin
padecimiento, la
India cuando disfruta
es un festival de olores
colores, chilladeras en
idiomas, en los ojos
abiertos de par en par
de la vaca, esta vaca
tiene entendimiento.

La lluvia, esa constancia del Universo mojaba la vaca
en sus generaciones,
ubres empapadas
segregarán agua de
lluvia en los pechos
inquietos de las
madres, el odre viejo
entre las piernas de
los padres, colgajos
muertos a la
reproducción.

Tres dioses primeros tiene la vaca, veneremos a
Vishnu que es venerar
a la vaca: comparten
los nueve avatares,
consistencia de la
materia visible,
definámosla como real:
lo real. Y todo el aparato
eléctrico, facsímil de la
Nada, todo el pedrisco
y la centella, el susto
humano, la idea del
castigo saltan a la
vista como una
ofrenda a la vaca,
charcos de grumos,
charcos lácteos,
cuajarones entre
sus pies.

Yo por primera vez , ahora que simplifico, soy aprendiz
de hatos y rebaños,
me pliego a lo exterior,
a las generaciones, el
redil y el aprisco
guardados por perros
caballerosos, y la perra
madre que ríe y canta
cuando oye mugir, gañir
(ecos) bramar qué miedo,
los chiquillos reír a
mandíbulas batientes,
balar es reír: funjo de
rabadán y más allá
reconozco un Universo
inexacto, día primero,
Vishnu rige, todo será
reconstruido durante
el décimo avatar en
nombre de la Vaca.

Kali
yuga,
Kali
yuga,
la
vaca
duerme
y
respira
a
un
mismo
tiempo,
qué
tiempo
donde
no
hay
tiempo
me
instalo:
telas
holgadas,
las
recuas
y
los
establos,
un
mugido
corto,
una
casa
donde
se
conversa
en
voz
baja,
el
agua
cae
perpendicular,
se
retira
en
línea
recta,
gota
a
gota
en
los
ojos
de
la
vaca
(nunca
parpadea)
(su
iris
vacío)
damos
a
luz
en
casa
de
la
ingle
izquierda
de
la
madre
(sin
suturas)
a
la
gónada
integral
(genital)
cópula
sin
artimañas
de
las
parejas.

 

Foto por: Carlos Blackburn.

José Kozer (La Habana, 28 de marzo de 1940) es un poeta prolífico y traductor cubano radicado en los Estados Unidos desde 1960. De padres judíos de Europa Central —él polaco, ella checa—Kozer creció en Cuba, donde alcanzó a estudiar un año en la Universidad de La Habana, pero después de la revolución emigró a Estados Unidos. Hizo una maestría y un doctorado en literatura luso-brasileña y fue codirector de la revista Enlace de Nueva York (1984-1985). Clasificado dentro de la estética neobarroca —fue uno de los editores de Medusario: Muestra de la poesía latinoamericana, Fondo de Cultura Económica, México, 1996—, ha publicado un centenar de libros, la gran mayoría de poesía, aunque entre ellos hay también de prosa. Durante tres décadas fue profesor de literatura hispana en el Queens College de Nueva York (1967-1997); después vivió dos años en España y luego regresó a Estados Unidos; reside con su segunda esposa —española— Guadalupe en Hallandale, Florida. En 2013, obtuvo el Premio Iberoamericano de Poesía Pablo Neruda.