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Pablo Neruda (1904–73) is one of Latin America’s best known poets, adored by readers for the passionate love lyrics written during his early years in his native Chile, and respected by critics for the dark, hypnotic verses he composed during his later, solitary years as a diplomat based in the Far East. As Dominic Moran shows in his concise biography of Neruda, rarely have the life and works of a writer been so intimately and dramatically bound up as they are in Neruda. In Pablo Neruda, Moran takes a detailed and often critical look at this relationship, focusing as much on what the poetry sometimes strategically hides about Neruda the poet, the lover, and the political proselytizer, as what it reveals. Moran describes a life that was marked by an increasingly militant communism, the seeds of which can be traced to Neruda’s experiences in Spain during the early months of the Spanish Civil War. Throughout the 1950s and 1960s, Neruda became a literary torchbearer for the International Left, and he spent his final years campaigning to bring socialism to his beloved Chile. He lived just long enough to see his hero Salvador Allende unseated by Augusto Pinochet’s bloody coup. Pablo Neruda paints a fascinating picture of one of the most prodigiously gifted literary figures of the twentieth century. It will appeal to fans of Neruda’s verse who wish to learn more about the life behind it, as well as to readers interested in Latin American literature, politics, and history.
What goes into the translating of a poem? Usually that process gets forgotten once the new poem stands intact in translation. Yet a verse translation derives from historical, biographical, and philosophical research, interpretive analysis of the original poem, and continuous linguistic and prosodic choices that parallel those the poet made. Taking as a text Pablo Neruda's brilliant prophetic sequence Alturas de Macchu Picchu (1945), the author here re-creates the entire process of translation, from his first encounter with the poem to the last shaping of a phrase that may never come right in English. This many-faceted book forms an essay on the theory and practice of literary translation, a study of Neruda's career through 1945, and an interpretation of his major poem, all of which lead to a striking new poem in English, Heights of Macchu Picchu, printed along with the original Spanish. This genesis of a verse translation also includes little-known biographical data, hitherto untranslated poems and prose from the years 1920 to 1945, and new translations of key poems from Neruda's Residence on Earth and Spain in My Heart.
In this compelling collection, Teresa Longo gathers a diverse group of critical and poetic voices to analyze the politics of packaging and marketing Neruda and Latin American poetry in general in the United States.
Long poem inspired by the author's journey to a ruined Inca city, Macchu Picchu, high in the Andes, symbolic not only of his physical journey but also of his spiritual adventure.
New Directions celebrates the Pablo Neruda Centennial.
This collection of essays—the first major account of surrealism in Latin America that covers both literary and visual production—explores the role the movement played in the construction and recuperation of cultural identities and the ways artists and writers contested, embraced, and adapted surrealist ideas and practices. Surrealism in Latin America provides new Latin American–centric scholarship, not only about surrealism’s impact on the region but also about the region’s impact on surrealism. It reconsiders the relation between art and anthropology, casts new light on the aesthetics of “primitivism,” and makes a strong case for Latin American artists and writers as the inheritors of a movement that effectively went underground after World War II. In so doing, it expands our understanding of important, fascinating figures who are less well known than their counterparts active in Europe and New York. Deriving from a conference held at the Getty Research Institute, the book is rich in new materials drawn from the GRI’s diverse Mexican and South American surrealist collections, which include the archives of Vicente Huidobro, Enrique Gómez-Correa, César Moro, Enrique Lihn, and Emilio Westphalen.