The poems here were composed 1924-1934, and come from the heated period in which Altazor and Skyquake had germinated, but were only published in 1941, in Santiago, part of a summing-up by the author of his life's work.
Huidobro published this collection of manifestos and statements on poetics in 1925, and it summed up the previous 8 or 9 years of his work. The truth is, however, that he was already moving away from some of the positions espoused in this volume, and it was one of his last original publications in French.
This selected edition presents an overview of all of Huidobro's work, moving from the early symbolist poetry, to the high avant-garde work of the War years, then to the mid-period experiments until we reach the quieter post-surrealist phase.
Square Horizon" is Huidobro's first book in French, influenced by the work of Apollinaire, but marking the author's definitive arrival on the Parisian scene, and kicking off a frenetic period of activity in which he issued many publications.
Huidobro published "Poemas árticos" in Madrid in 1918, this being the last of a rapid series of publications which established him as a major new talent both in French and in Spanish. This was his longest Spanish-language volume to date.
Poetry. Latinx Studies. Translated by Tony Frazer. The prose-poem TEMBLOR DE CIELO is more apparently unified work than its contemporary work, Altazor, although this might owe more to its style of delivery: an ecstatic outpouring of words that largely revolve around the themes of love, sex and death. The Isolde to whom much of the poem is addressed is an idealised feminine figure--part goddess, part idealised beloved, part Isolde from Wagner's opera (another ecstatic outpouring on the theme of love, sex and death) and part Ximena Amunátegui, the young woman who had become the poet's second wife. The poem is also a sustained lyric effusion of a kind that Huidobro had never produced before, and it marks the point at which his work moves on from the barnstorming avant-garderie of his younger years to a more mature style, albeit one influenced by surrealism, a movement which Huidobro had previously attacked. It is also the last time that Huidobro was to adopt the god-like narrative persona that occurs in his earlier work. In TEMBLOR, as in some earlier works, God is conflated with the poet-creator, as he is in Altazor, where the opening lines reflect the opening of a love-poem addressed to Ximena that the author published (to great scandal) in the Santiago newspaper, La Nación.
Last Poems is a posthumous volume assembled by the poet's daughter. It contains some magnificent late poems that can stand alongside the best of his earlier work; this is the first complete translation.
Poetry. Latino/Latina Studies. Bilingual Edition. Translated from the Spanish by Jorge García-Gómez. Introduction by Gary Kern. THE POET IS A LITTLE GOD collects three small books of poetry, El espejo de agua, Poemas arcticos and Ecuatorial, plus a lecture on poetry by the famous avant-garde Chilean poet. Ars Poetica Let the verse be as a key Opening a thousand doors. A leaf falls; something is flying by; Let whatever your eyes gaze upon be created, And the soul of the hearer remain shivering. Invent new worlds and watch over your word; The adjective, when not a life-giver, kills. We are in the cycle of nerves. Like a memory The muscle hangs in the museums; Nevertheless, we have no less strength: True vigor Dwells in the head. Why do you sing the rose, oh Poets! Make it blossom in the poem; Only for us Live all things under the Sun. The Poet is a little God.
ÊIf we wish to understand Argentina, we must begin first of all by familiarizing ourselves with one pivotal sentiment that has permeated and controlled every aspect of Argentine life and development since colonial days. This sentiment is an exalted and haughty patriotism, so intense, indeed, that the tone with which an Argentine says ÒSoy argentinoÓ, is no whit less assertive and proud than that in which citizens of ancient Rome were wont to say ÒCivis Romanus sumÓ. Whatever the origin of this sentiment, the evidences of it are irrefutable. Argentina has to-day about nine million inhabitants: of these, fully two thirds are of recent foreign origin, mainly Italian and Spanish, and to a much smaller extent, English, French, and German. Argentina, in other words, has relatively a much larger population of recent foreign extraction than the United States. Nevertheless, the hyphen does not exist in Argentina; and the terms Italo-Argentine, Hispano-Argentine, Franco-Argentine, etc., are entirely unknown. The jealous and uncompromising patriotism of the Argentine makes hyphenated national designations impossible. If we turn from the evidence of purely popular sentiment to the more sober and more controlled evidence of literature, we find the same thing. Take away from the literature of Argentina the theme of patriotism, and you have taken away its most distinctive and its greatest life-giving element. It has been said, and justly, that the Italian literature of the nineteenth century centered entirely about the theme of Italian unification, voicing during the first half of the century the aspirations of her great men for a united Italy, and during the second half intoning the p¾an of joy at the accomplishment of those aspirations. The same may be said of Argentine literature. The names of the great leaders of her immortal Revolution, both against the mother country and later against the internal caudillo tyrantsÑthe most important of whom was RosasÑand the deeds that they performed, recur again and again through the pages of her men of letters, whatever be the form of literature they engage in, narrative, dramatic, or poetic.
In 1931, Huidobro and Hans Arp together wrote Tres novelas exemplares (Three Exemplary Novels), a set of wild quasi-surrealist "stories". In 1932, Huidobro offered the set to a Spanish publisher, but was told that the book was too short, and so he wrote two further solo stories. The contents are therefore not three, not huge and not novels.
El poeta vanguardista Vicente Huidobro, padre del Creacionismo, revolucionó en la primera mitad del siglo pasado la poesía hispanoamericana. Esta selección de sus poemas, poblados de imágenes inusitadas y juegos visuales, nos adentra en un mundo a veces muy distinto al de todos los días, en el que aparecen gallos cantando sobre la Torre Eiffel y "barcos en peligro entre dos astros". Premio a la Edición, Cámara Chilena del Libro 2013
La obra de Vicente Huidobro produjo una verdadera revolución en las letras chilenas, hispanoamericanas, españolas y francesas. Resulta indispensable para pensar cualquier panorama de la poesía latinoamericana, ya que casi todos los poetas actuales se sienten comprometidos o deudores de la obra de Huidobro. Situar a Huidobro significa revisar la historia de la poesía en lengua castellana desde finales del siglo XIX hasta ahora. El creacionismo comienza a gestarse en América, se consolida, crece y se desarrolla en Europa y vuelve al nuevo continente con particularidades quizás algo distintas, pero con una intención semejante: replantear la poesía, olvidar los pasados influjos, construir una poética nueva, otra. Más adelante, e l lenguaje, la expresión, el tono, el temple y la constitución o anatomía del poema hace del conjunto de sus libros últimos su aporte mayor a la poesía de nuestro siglo XX. La locura, la fiebre del vanguardismo se alejan para que la voz del poeta entone el canto mayor con precisión, con rigor y buscando no el truco ni el equilibrismo, sino la interioridad con mayúsculas, sumergiéndose en las preguntas esenciales del hombre, del poeta.
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