Basura y otros poemas (Spanish Edition)

You'll then be redirected back to LARB. To take advantage of all LARB has to offer, please create an account or log in before joining Click here to get your subscription today. The Spanish language edition of this article is available immediately below the English. His extensive portfolio — which included narrative, essay, journalism, and translation — was grounded in a poetry that had few comparisons during his time.

He wrote prolifically, with collections that span five decades — from The Elements of the Night to The Age of Shadows and Like the Rain both from Poets end up living their madness. Or dead from alcoholism, drug addiction, poverty. Pacheco seems to have few direct influences, as this poem about the social marginalization of poets demonstrates.

Here the prosaic, almost journalistic tone and noted lack of metaphor are coupled with a dark, dry humor, exemplified by the last three lines of the poem. This contrasts with the work of many great 20th-century Mexican poets who are known for their metaphysical perspective and highly figurative language.

Pacheco appropriated other poetics and put them at the service of his own social and cultural interests, letting the world be grafted onto him, yet not losing his roots. Its abstract splendor is beyond my grasp. Though the Revolution had radical beginnings, by the second half of the s bourgeois values had infiltrated the country, leading to a ruling political class complicit with the consolidation of capitalism and the denationalization of the Mexican economy.

By the time Pacheco began writing in the late s, such neo-colonialist policies had been institutionalized. Pacheco was not indifferent to the ravages of neo-colonialism in both the material and spiritual aspects of life. As a result, he distanced himself from the pro-government intellectual majority and aligned himself with the demonstrators who protested to defend the democratic character of the Constitution. Still, emotion is checked. What the speaker feels is much subtler than passionate disdain.

In the second part of the poem, we discover that what matters are the small things, not the grandiose images that are conventionally part of nation building. In this way, Pacheco strikes a balance between writing socially conscious poetry and upholding his individuality.

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With little fanfare, Pacheco enriched the practice of poetry as a material force that seeks to transform the world, to re-humanize it. Without it each particle would be like a fragment of nothingness, dissolving in some unthinkable black hole.

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Salt surfaces from the sea. And so finally worn-out, deprived of its great water force, it dies on the beach to become stone in the sand. Salt is the desert where there once was sea. Water and land reconciled, matter of no one. Through the simplicity of the commonplace — salt — this poem tackles the thorny topic of individualism. It implies overcoming the solipsism at the foundation of modern society: Hailing from a country that has suffered colonialism and neo-colonialism, the modernity that Pacheco experienced was deformed and dependent.

Such experience results in a dialogic poetry that affirms individuality but refuses individualism. Poetry has just one reality: Baudelaire attests to it. Ovid would approve of such declarations. And this, on the other hand, guarantees the endangered survival of an art read by few and apparently detested by many as a disorder of the conscience, a remnant from times much older than ours now in which science claims to enjoy an endless monopoly on magic. In this poem, he seeks synthesis, presenting a poetry written with both heart and mind. References to classical music Robert Schumann and canonical poets Ovid, Charles Baudelaire go hand in hand with a direct, conversational tone.

The language of the poem is unadorned and straightforward; its sentiment restrained. And yet, the idea the poem defends — that poetry is suffering, that it is marginalized in the modern world, and that it is absolutely magical — contradicts such dispassion. Pacheco could be both sophisticated and melodramatic, exuberantly intellectual and rigorously emotional.

With this stance, he distanced himself from aestheticism and populism. I retake an allusion by crickets: Yet if not for the cryptic signal they broadcast to one another for crickets night would not be night. Here, Pacheco demonstrates his understanding of poetry. He attempted to write verse that distanced itself from traditional poetic rhetoric. Pacheco opted for bare, unadorned language precisely suited to what he wanted to say. He used a functional, refined poetic language in which a balance between the prosaic and the highly metaphorical is reached.

The result of this flexible and unorthodox poetics is, like the poem above, a work of apparently simple structure that is nonetheless exceedingly complex at heart. What nocturnal beauty its splendor if sailing in the salty half-light of the mother waters, to it sweet and crystalline. Click here to get your subscription today. The Spanish language edition of this article is available immediately below the English. His extensive portfolio — which included narrative, essay, journalism, and translation — was grounded in a poetry that had few comparisons during his time.



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He wrote prolifically, with collections that span five decades — from The Elements of the Night to The Age of Shadows and Like the Rain both from Poets end up living their madness. Or dead from alcoholism, drug addiction, poverty. Pacheco seems to have few direct influences, as this poem about the social marginalization of poets demonstrates. Here the prosaic, almost journalistic tone and noted lack of metaphor are coupled with a dark, dry humor, exemplified by the last three lines of the poem.

Spanish: Poems for Kids

This contrasts with the work of many great 20th-century Mexican poets who are known for their metaphysical perspective and highly figurative language. Pacheco appropriated other poetics and put them at the service of his own social and cultural interests, letting the world be grafted onto him, yet not losing his roots.

Its abstract splendor is beyond my grasp. Though the Revolution had radical beginnings, by the second half of the s bourgeois values had infiltrated the country, leading to a ruling political class complicit with the consolidation of capitalism and the denationalization of the Mexican economy. By the time Pacheco began writing in the late s, such neo-colonialist policies had been institutionalized. Pacheco was not indifferent to the ravages of neo-colonialism in both the material and spiritual aspects of life.

As a result, he distanced himself from the pro-government intellectual majority and aligned himself with the demonstrators who protested to defend the democratic character of the Constitution. Still, emotion is checked. What the speaker feels is much subtler than passionate disdain. In the second part of the poem, we discover that what matters are the small things, not the grandiose images that are conventionally part of nation building. In this way, Pacheco strikes a balance between writing socially conscious poetry and upholding his individuality.

With little fanfare, Pacheco enriched the practice of poetry as a material force that seeks to transform the world, to re-humanize it. Without it each particle would be like a fragment of nothingness, dissolving in some unthinkable black hole. Salt surfaces from the sea. And so finally worn-out, deprived of its great water force, it dies on the beach to become stone in the sand. Salt is the desert where there once was sea. Water and land reconciled, matter of no one. Through the simplicity of the commonplace — salt — this poem tackles the thorny topic of individualism.

It implies overcoming the solipsism at the foundation of modern society: Hailing from a country that has suffered colonialism and neo-colonialism, the modernity that Pacheco experienced was deformed and dependent. Such experience results in a dialogic poetry that affirms individuality but refuses individualism.

Poetry has just one reality: Baudelaire attests to it. Ovid would approve of such declarations.

Seven Poems by José Emilio Pacheco - Los Angeles Review of Books

And this, on the other hand, guarantees the endangered survival of an art read by few and apparently detested by many as a disorder of the conscience, a remnant from times much older than ours now in which science claims to enjoy an endless monopoly on magic. In this poem, he seeks synthesis, presenting a poetry written with both heart and mind. References to classical music Robert Schumann and canonical poets Ovid, Charles Baudelaire go hand in hand with a direct, conversational tone.

The language of the poem is unadorned and straightforward; its sentiment restrained. And yet, the idea the poem defends — that poetry is suffering, that it is marginalized in the modern world, and that it is absolutely magical — contradicts such dispassion. Pacheco could be both sophisticated and melodramatic, exuberantly intellectual and rigorously emotional.

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With this stance, he distanced himself from aestheticism and populism. I retake an allusion by crickets: Yet if not for the cryptic signal they broadcast to one another for crickets night would not be night. Here, Pacheco demonstrates his understanding of poetry. He attempted to write verse that distanced itself from traditional poetic rhetoric. Pacheco opted for bare, unadorned language precisely suited to what he wanted to say.

He used a functional, refined poetic language in which a balance between the prosaic and the highly metaphorical is reached.

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The result of this flexible and unorthodox poetics is, like the poem above, a work of apparently simple structure that is nonetheless exceedingly complex at heart. What nocturnal beauty its splendor if sailing in the salty half-light of the mother waters, to it sweet and crystalline. Yet on the beach overrun by plastic trash this fleshy jewel of viscous vertigo looks like a monster. No blood flows from its lips: