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César Vallejo is one the greatest Spanish-language poets of the 20th century, his monument being the book-length sequence 'Trilce' (a translation of which is published simultaneously with this volume). After the publication of 'Trilce' he published numerous essays and a didactic novel, but did not collect any of his subsequent poems for book publication. Since his death, these poems have usually been referred to as the Posthumous Poems or, collectively, as the 'Poemas humanos' after the title of one of the posthumous collections. This volume brings together all of the post-'Trilce' work that has been identified by the latest scholarship and included in the most recent Peruvian edition of the author's works. The Spanish texts have benefitted from a number of corrections, as compared to previous publications, and the poems are presented chronologically - in so as far as the chronology can be ascertained. The book offers the most complete version yet of this magnificent body of work. The translations are by the award-winning Irish poet-translator, Michael Smith, and the Peruvian scholar Valentino Gianuzzi.
This first translation of the complete poetry of Peruvian César Vallejo (1892-1938) makes available to English speakers one of the greatest achievements of twentieth-century world poetry. Handsomely presented in facing-page Spanish and English, this volume, translated by National Book Award winner Clayton Eshleman, includes the groundbreaking collections The Black Heralds (1918), Trilce (1922), Human Poems (1939), and Spain, Take This Cup from Me (1939). Vallejo's poetry takes the Spanish language to an unprecedented level of emotional rawness and stretches its grammatical possibilities. Striking against theology with the very rhetoric of the Christian faith, Vallejo's is a tragic vision—perhaps the only one in the canon of Spanish-language literature—in which salvation and sin are one and the same. This edition includes notes on the translation and a fascinating translation memoir that traces Eshleman's long relationship with Vallejo's poetry. An introduction and chronology provide further insights into Vallejo's life and work.
Essential writings from the catalyst of the Latin American experimental tradition For the first time in English, readers can now evaluate the extraordinary breadth of César Vallejo's diverse oeuvre that, in addition to poetry, includes magazine and newspaper articles, chronicles, political reports, fictions, plays, letters, and notebooks. Edited by the translator Joseph Mulligan, Selected Writings follows Vallejo down his many winding roads, from Santiago de Chuco in highland Peru, to the coastal cities of Trujillo and Lima, on to Paris, Madrid, Moscow, and Leningrad. This repeated border-crossing also plays out on the textual level, as Vallejo wrote prolifically across genres and, in many cases, created poetic space in extra-literary modes. Informed by a vast body of scholarly research, this compendium synthesizes a restored literary corpus and—in bold translations that embrace the idiosyncratic spirit of the author's writing—puts forth a new representation of this essential figure of twentieth-century Latin American literature as an indispensable alternative to the European avant-garde. Compiling well known versions with over eighty percent of the text presented in English translation for the first time, Selected Writings is both a trove of and tribute to Vallejo's multifaceted work. Includes translations by the editor and Clayton Eshleman, Pierre Joris, Suzanne Jill Levine, Nicole Peyrafitte, Michael Lee Rattigan, William Rowe, Eliot Weinberger, and Jason Weiss.
The world-renowned Peruvian poet César Vallejo (1892-1938) was also a journalist, essayist, novelist and would-be dramatist. The study of his life and work has encountered problems since the 1950s, stemming from the fact that half of his writing was published posthumously under editorship of doubtful accuracy. The matter is further complicated in that his non-poetic work has been neglected in favour of his verse. A Struggle between Art and Politics reviews the evidence -- literary and historical -- now reliably to hand, and assesses the often conflicting body of opinion his work has generated. Three essential questions are pertinent: Where should Vallejo be placed in the canon of twentieth-century modernism? What effect did his mid-life conversion to Communism have on his writing? How should his prose fiction, journalism and essays be assessed in relation to his poetry? There are few writers whose literary output follows the twists and turns of their lives more closely than César Vallejo's. This new, comparative study maps his career onto the cultural, social, political and historical backdrop to his life in Peru, France, Spain and Russia, and analyses his writings in the light of his life circumstances. Vallejo's journey from Peru, the cultural "periphery", to the "centre" of inter-war Paris, his experience of European capitalism during the Depression, and the confrontation of Communism and Fascism, ultimately played out in the Spanish Civil War, forced him to wage a personal struggle to reconcile art with life and politics. This challenge is fought out in different ways in his various writings, but nowhere more movingly, passionately and humanely than in his posthumous poetry.
This is the first biography of Latin America's most important poet. the Peruvian César Vallejo. It traces the important events of his life and evaluates his poetry, fiction, theatre, political essays and journalism. This is the first biography of Latin America's most important poet, the Peruvian César Vallejo, who was born in an Andean village, Santiago de Chuco, on 16 March 1892 and died in Paris on 15 April 1938. It traces the important events of his life - becoming a poet in Peru, falling in love with Mirtho in Trujillo, writing Trilce which would transform for ever the avant-garde in the Spanish-speaking world, fleeing to Paris in the summer of 1923 afterbeing accused of burning down Carlos Santa María's house in Santiago de Chuco, falling in love with Georgette Philippart and then with communism, writing his Poemas humanos (Human Poems) and then, shortly before hisdeath, writing his moving poems inspired by the Spanish Civil War, España, aparta de mí este cáliz (Spain, Take this Chalice from Me). This book also provides an objective evaluation of Vallejo's poetry, fiction, theatre, political essays and journalism. Stephen M. Hart is Professor of Latin American Film, Literature and Culture, School of European Languages, Culture and Society, University College London.
The Translation judges for the National Book Awards--Richard Miller, Alastair Reid, Eliot Weinberger--cited Clayton Eshleman and Jose Rubia Barcia's translation of Cesar Vallejo's The Complete Posthumous Poetry as follows: "This, the first National Book Award to be given to a translation of modern poetry, is a recognition of Clayton Eshleman's seventeen-year apprenticeship to perhaps the most difficult poetry in the Spanish language. Eshleman and his present collaborator, Jose Rubia Barcia, have not only rendered these complex poems into brilliant and living English, but have also established a definitive Spanish test based on Vallejo's densely rewritten manuscripts. In recreating this modern master in English, they have also made a considerable addition to poetry in our language."
Bringing Latin American popular art out of the margins and into the center of serious scholarship, this book rethinks the cultural canon and recovers previously undervalued cultural forms as art. Juan Ramos uses "decolonial aesthetics," a theory that frees the idea of art from Eurocentric forms of expression and philosophies of the beautiful, to examine the long decade of the 1960s in Latin America--a time of cultural production that has not been studied extensively from a decolonial perspective. Ramos looks at examples of "antipoetry," unconventional verse that challenges canonical poets and often addresses urgent social concerns. He analyzes the militant popular songs of nueva canción by musicians such as Mercedes Sosa and Violeta Parra. He discusses films that use visually shocking images and melodramatic effects to tell the stories of Latin American nations. He asserts that these different art forms should not be studied in isolation but rather brought together as a network of contributions to decolonial art. These art forms, he argues, appeal to an aesthetic that involves all the senses. Instead of being outdated byproducts of their historical moments, they continue to influence Latin American cultural production today.