Sunday, June 5, 2016

Jorge Etcheverry

Brief selection of short stories in English for a book in preparation

Spontaneous generation

The generation of life, a discovery of a species of cockroach I didn’t know of and have never seen before, rather long ones lying on the tile of the bathroom floor, apparently dead, but after a few hours or days, some of them have changed their positions slightly. This leads me to reflect, rather guiltily, that I’ve been establishing this trivial fact in the bathroom of my apartment—actually the second floor of a house in a more-or-less trendy neighbourhood—instead of following the news that has spread poppies of blood across the world. Well, you can always resort to tradition, to what has been established, and I quote: “the microcosm reflects the macrocosm.” With this excuse that doesn’t fool me, I feel my associations lead me to antiquated, discredited things like spontaneous generation, which is the possible emergence of complex plant and animal life, spontaneously, according to Wikipedia.

Triangulation with unknown apex

The squaring of the circle is not out of the question in the field of psychology. Eggheads are usually also perfect squares. The problem of the physicist, educated in some renowned North American university but not foreign to eschatology for family reasons—an ancient lineage going back to Calvinism— is that by following Einstein and many others, he saw a divinity behind or around, or at the very core of what is called—and that we do call— the universe, which having been created this way, surely does exist and in it we, as the human species, would be more or less at the centre. This is quite normal and unspectacular. For example, if you work loading and unloading cargo in any port of entry—-air, land or sea—you would need this kind of reassurance.: If reality is not real, and I have no way of knowing whether or not it is, then I’m not getting out of bed today. Or maybe I will, definitely, because to comply with the natural imperatives that are not at all disagreeable when you satisfy them, the ultimate meaning of everything is not actually needed and you just have to get up out of bed. After quite a hard day of work in the lab the physicist dreamt he was in the center of a triangulation where the left vertex was the Devil and the right, God, but in the lower vertex—or perhaps apex— it depends on the point of view, there was an entity.

The Rats in Mexico City

(As told to me by Sergio Chávez)

I've always been afraid of rats. Wait. Not afraid exactly.  Disturbed. Animals do have their ways.  We’d like to think they're stupid, but if you walk along any old street at night when almost nobody else is around, you might suddenly feel something scurrying past your leg. Swishshsh. Then you'll feel another one.  Later, by the light of the lamp post or the rosy light of dawn (I had to work nights sometimes) you'll see a certain movement on the street and you'll soon realize those moving spots that are a bit darker than the pavement are rats. They come out of sewers and cracks in the walls and they run along the streets in droves for the sake of it, it seems. You hurry home or wherever it is you have to go, almost at a run, because you know it’s happened before in that polluted city of so many millions that drunkards curled up asleep on the streets have been eaten up by rats. And I can tell you that in Chile in poor neighbourhoods the odd baby has been bitten or eaten up by rats, but it's nothing like it is in Mexico City. I've also heard that wild packs of dogs in the desert in Chile have accounted for the disappearance of more than one truck driver. I'm sure you're going to ask why they'd sleep outside on the ground instead of in the cabin. Don't ask me!

But like I say, in Mexico City things are even worse. Most people don't even know about it, and they smile or get annoyed if you ask them any questions. Most Mexicans just ignore it, like they ignore other things. At the time, I was working as a security guard at a gas station close to the city centre. I always used to carry my rifle with me and as soon as I saw any movement in the streets, of animals I mean, I would take aim and shoot. It was a way of keeping me awake while I was working the night shift. Then I used to hang the bodies of the rats from a wire, like clothes hung out to dry. When the daytime workers arrived in the morning, they would be surprised. I shot one or two rats an hour. That meant between eight to16 a night. In time, I became obsessed. I could see the small, red eyes looking at me with hatred, and I knew they were following me, watching me.  They say there are 16 rats to every human being but considering the size of rats, it's not that bad.

One night I remember looking at the small restaurant across the street and noticing that the door had not been completely closed. It was open about 10 centimeters. The guys on the day shift used to eat breakfast there before they started work. When my shift was over I ate there too.  I hurried across the street after tightly closing the door behind me and took a lighter out of my pocket. As soon as I got to the restaurant, I squeezed inside, and immediately felt sinuous forms running across my shoes and heard a lot of muffled padding, rubbing and scratching. I was terrified and I stumbled for several seconds, trying to find the light switch. When I managed to turn the light on, I saw small, scurrying shapes. They were even inside the fridge, inside the plastic bags where the food was kept. How they had managed to get inside there I’ll  never know. I felt shivers running down my spine, and my legs felt like they were made of rubber.

When Don Eusebio, the owner, came to open his restaurant in the morning I told him what had happened, but he didn't seem to believe me.  He wouldn't even let me finish what I was saying. "The boys always leave things in such a mess," he said, patting me on the shoulder. I told him the rats were even inside the fridge. "Come on. How can a rat get inside a closed fridge?" he asked me. He started to tease me: "You've been drinking too much, more than usual. What you need is a little chick  for yourself.  Young guys go crazy without it." 

Later, when his employees arrived, I noticed how carefully they cut off the pieces of ham, bread and cheese that showed teeth marks. "You can't use this food, Don Eusebio. People can get sick," I told him.  But everybody ignored me and kept talking. "Don’t leave such a mess tomorrow, niños," Don Eusebio told them, half smiling.  "Sure boss," the guys answered, chuckling and looking at me.  They were not going to throw out all that good food just because of some rats.  People will do the most incredible things to make a buck and nobody will say a word or lift a finger.  Afterwards, the guys at the restaurant used to tease me, but we all knew the score.

About that same time, a lot of stray dogs were being found dead and badly hurt around the market area.  In Mexico City dogs tend to come and go as they please, but these weren't the usual dog fights, people said.  No way.  And it happened just by chance when I was walking that morning around the market that part of an old wall caved in, and behind it, there was a sort of cave.  People immediately started to gather around to have a look, and every dog for blocks around came running to the spot.  A young guy, probably from one of the stalls, flicked his lighter and was about to poke his head inside the hole when he backed away screaming "Madre de Dios."  An enormous rat, or an animal that looked a lot like a rat, came out of the hole, jumped over a wooden box and stood there, its fur standing up on end, the little red, rat eyes brilliant with fear and rage.  The dogs wouldn't leave the animal alone, and a woman who was standing just in front of it couldn't stop screaming, pointing at the animal with a trembling finger.  You probably know that Mexico City is built on top of an old Indian city. That's why there’s always a good chance of finding caves. People have found treasures, even dinosaur bones, more than once. But I could tell for sure the animal wasn't a rat. It was too big. Even the big river rats in El Salvador are small, almost dwarves, compared to that animal.

There are lots of caves and ancient ruins under the city.  Once a whole section of  road caved in, sucking in several cars. Sand filled the hole and not even one of the cars was ever found, or the people inside. They even tried excavating and other things, but nothing worked. But let's get back to the rat.  Officials from the National Museum took the animal away in a cage and put it on display for a while. In the papers they said the animal was definitely some kind of rodent, but everybody could see that it wasn't a rat, that it was a new (or old) animal species.  And then all of a sudden, the rat, or whatever it was, was no longer on display.  Nobody wanted to talk about it anymore, and even the people in the market, it seems, forgot about what had happened. But that's the way people there do things. They act normally, pretending everything's OK.

Fever

By Jorge Etcheverry

It wasn't altogether new, though it was unexpected: Gustav Meyrink, who has been unfairly forgotten, though it already doesn't matter anymore, refers to a similar case in one of his short stories. It has been clearly demonstrated that the genes of certain people hide more surprises than might be expected. Take for example l’âge d'or of AIDS that spared some while decimating others. Anyway, these times are not meant for polemics or lectures. Nowadays what counts are other, more basic skills: the capacity to build a shelter using diverse and sparse materials; the ability to digest food well, take advantage of almost anything organic, and keep teeth strong and healthy. And above all it’s important to be able to maintain a certain degree of control over the emotions, to keep the fever from rising.

Claire, who's a woman...and it's not that I think or have ever thought that women are inferior to men; they’re different, that's true, but.... Claire can't see or doesn't want to see that the fever rises, for instance, when we argue and the level of mere words is surpassed, reaching that of imprecations and threats. And it's not that she's selfish. On the contrary, she's an emotional and sentimental person. She has a natural tendency to being kindly disposed toward human beings and is able to share their joys and sorrows. This for me is an inexhaustible source of spiritual pleasure, but a source of certain disgrace and suffering to anybody else who's not at a safe distance: the air starts to get hot, at first almost imperceptibly, and then, before the casual observer, even an experienced one, is able to discern whether or not it is merely a natural variation in temperature, the very air seems to catch on fire, suffocating people and scorching their flesh. One minute more and the water starts evaporating and herbs and branches, beginning with the dry ones, begin to burn.

A Cool One is someone whose senses are sufficiently acute and whose mind is trained enough to make instant connections, draw analogies, etc. and who knows what he's dealing with even in the first few seconds. He starts running, head bent, choosing as though by instinct the direction opposite the source of the heat (us and our incombustible flesh) or he continues minding his own business while everybody else around flees, terrified. Claire thinks the Cool Ones have a sort of sixth sense and that a real Cool One can never be mistaken. That may be true because despite the very strange things that have happened on the face of the Earth in recent decades, I still don't believe in paranormal faculties. Crumbling cultures always fall into superstition. But I don't even attempt to argue with her, as I did before, because it inevitably gets her excited, causing her temperature to rise. I try instead to change the subject: "Last night did you see something like a pink light towards the coast?" But this excites her even more and shortly after, I feel the heat like a lash, while the familiar threads of smoke start to rise from around her buttocks, talons, and hands, in brief, those parts of her naked body in contact with the ground. I don't dare to look at her body for too long because the resulting excitation brings my own temperature up, the radiation of which combines with hers, almost literally burning everything in sight, leaving only ashes for who knows how many kilometres around.

That's why I always look for distant places in which to make love. Claire complains all the time as we walk towards spots we assume are uninhabited, to be able to satisfy our urges, places where in the distance, the pale horizon is only a lifeless line. No more chimneys or planes in sight. I allow myself to be filled with nostalgia for a moment. Sometimes I imagine that it's more difficult for me since I've always lived in the city. Then my temperature increases by at least 500 degrees because emotions connected with my past are always intense. (There are two kinds of people: the ones who live in the past and the ones who live in the future. The present doesn’t exist for them.) Then the smoke starts to billow underneath my feet, among the bushes beside me. It's a kind of warning I'm sending to others because on this night both of us feel an intense desire for each other and our temperatures start rising even before any of the signals of excitation become apparent, the moist skin and lips, rapid heartbeat and breathing, a darkening of the nipples, and now it seems we are walking enrobed in flames. Claire tells me she has a presentiment and looks at me sideways, then strokes her womb in a strange way. I look at her for a moment, not understanding; then fear and joy take hold of me. I can see and hear how the heat generated crashes against something far away, pulverizing it.  It's my own heat, the product of my own fever, this thing that started nobody knows how and that may or may not end, but that is no longer so important.

All texts translated from Spanish by Jorge Etcheverry and edited by Sharon A Khan


Saturday, April 30, 2016

tribute to Jorge Etcheverry on his 70th birthday

     

Claudio Durán
Jorge EtcheverryChilean-Canadian poet Jorge Etcheverry, one of the most important figures in Hispanic Canadian literature, turned 70 this year. On the occasion of his 70th birthday, fellow Chilean-Canadian writer Claudio Durán offered him the following tribute.

I seem to remember meeting Jorge in 1964 when he took a course in logic in the Pedagogical Institute at Universidad de Chile. I was the course assistant. However, as much as I tried to locate him in a tutorial, I had no luck. What I do remember very clearly is the following: one day, I think it was in 1966, I arrived at the institute and in the courtyard there was a large group of students who were listening to someone sitting on one of the benches. I went over to them and there was Jorge, sitting next to Professor Rivano, reading poetry with verve and enthusiasm. But I only managed to hear a few lines before Jorge finished his reading, stood up and departed, followed by most of the students who had been listening to him. As I was standing next to Juan Rivano, I stayed to talk to him. Pointing to Jorge with his index finger, he said to me:
“There goes a great future Chilean poet.”
Well, the rest of the story is well-known, and today we pay tribute to a great Chilean poet in Canada on the occasion of his 70th birthday. The strange dialectic of exile means that we view him here in this shared exile. I have no doubt, however, that Jorge is a great poet in Chile as well. But in Chile it is hard to see the distance once we’ve left, even if it has been a forced departure.
Jorge has been hugely important for my development as a poet in this country, and I’m sure that many of you and many other people would say the same. His tireless work in promoting literature in Spanish, expressed in the organization of poetry recitals and readings for so many years, and his work directing publications in print and online, is well-known and has provided writers and poets from Chile and from other countries with abundant opportunities to participate. He has allowed us to be Chilean writers and poets in Canada. In this way, he has helped us keep Chile in our hearts.
Jorge is a great poet, just as Juan Rivano said back in 1966. His poetry has a profound quality which is truly enviable: it flows on the level of everyday language while at the same time being great poetry. In some poems I’ve tried to do this, with some success, but with great difficulty. In fact, Jorge gave an enthusiastic review of my poem on Pompeii, to which I reacted with relief and with… WHAT???
Other qualities of his poetry in my view are the following:
His poetry is malleable, transportable, constructible and desconstructible; past, present and future; contextualizable and recontextualizable. His poetry is thus dynamic and dialectic; it is not, incidentally, “dead language”. His poetry will thus be appearing and reappearing over time in all its expressive diversity. It encompasses a vast wealth of dimensions, nuances, themes, attitudes, approaches to life, etc. I will mention a few of these issues here: the richness and cohesion of language that is apparently simple yet loaded with experience and poetic talent; we find an irony, sometimes self-referential, other times aimed at another person, situation or thing; his views on women and gender relations; exile, of course; a kind of poetic art that can be gradually discovered in many of his poems; a reflection on Western cultural tradition; the highly racial and ethnic dimension of life in the North; memories of and longings for friendships and people he knew in the old Chile; a vision of the universality of human and social experience; observations on his ethnic origin, but at the same time, and very interestingly, on the origin of the human species and its relationships with other species; and finally, on ocassions, a kind of pessimism and desperation that can even lead to a sort of roughing of his soul. In short, it is poetry that resonates!!
Jorge, I congratulate you today on your 70th birthday and hope that in another 70 years we reunite here, or in Chile, or some other place in the universe to read poetry!
Translated by Martin Boyd

Thursday, May 28, 2015

Apocalypses with Amazons

Reviewed by Mariela Griffor

Author: Jorge Etcheverry

Publisher: Editorial Antares:
http://www.glendon.yorku.ca/antares/english/editorial.html


  I like very much the tension of existential discharge contained in the pages. I like the feelings of anxiety and brusque, or better said the brutal, mental fracture that comes from some of the short stories in this collection. The shortest of these stories, and the one that bears the title of the book itself, Apocalypses with Amazons, is my favorite. It took me years to understand the work of Etcheverry and I’m not saying this for it being a lesser qualification but rather for its surrealistic complexity. It is representative of the works of the School of Santiago, created in the sixties whose slogan was “Here exists neither poetry nor prose: here exists only The Word.” A linguistic slogan that included later on the cultural class of exile.

Apocalypse of the Amazons is different from other books of magic realism coming from Chilean expat Etcheverry, it is precise and chooses his characters carefully. He portrays the feminine characters as strong, attractive, smart, vulnerable and as intellectuals. His feminine characters never subdue. Many times these women are stronger, wiser.

I’m not surprised that an author like Etcheverry had strong political views that creates an environment where reality is ‘fixed’ into an ulterior development where human values prevail, where human rights are saved and preserved, instead of the despots profiting of a modern society. Like searching for a perfect escape from a sordid reality, Etcheverry tries to ‘fix’ the outcome from the negative impact that a world that excludes so many, caused in the mind and soul of its members. The human spirit prevails in wonderful trips as “a bird that crossed the sky of fire, casting over the world the texts of what is called the operative Magic.”

Despite the criticism and cynicism from the diary of Alberto Magno, the lines of “his” literary Alberto Magno, the lines of his faithful belief in humanity pour out in some of the lines: “And like this as a species of spiritual animal, overfed and misbalanced, impregnated over all existence in the Middle Ages, amplified to the square by technology that ended demonstrating that the ideas, religions and beliefs flowing over the grey world that doesn’t produce only dragons burning the skies, but also other entities, Greta Garbo and I leave the reality flow according our desires …”.

Read this book, it will make you think. You will enjoy the reading. Etcheverry writes in this book about themes that are important, such insertion, acclimatization, dislocation, language decay and the search for the common in us. We share with him his love for the continent. His search, is a continuous search for making people from “the other Americas” more recognizable to the North.



  Jorge Etcheverry, born in 1945, is a former member of the School of Santiago and Grupo América from the 1960s. He lives in Canada and has published poetry, prose, criticism and various articles in several countries. His books of poetry are: The Escape Artist (1981); La Calle (1986); The Witch (1986); Tánger (1991); A Vuelo de Pájaro (1998); Vitral con Pájaros (2004); and Reflexión Hacia el Sur (2004). Lately, he has appeared in anthologies such as Cien microcuentos chilenos (2002); Los poetas y el general (2002); Anaconda, Antología di Poeti Americani (2003); El lugar de la memoria. Poetas y narradores de Chile (2007); Latinocanadá (2007); Poéticas de Chile. Chilean Poets (2007); 100 cuentos breves de todo el mundo (2007); and The Changing Faces of Chilean Poetry: A Translation of Avant Garde, Women's, and Protest Poetry (2008). 

   

   

 

Wednesday, April 15, 2015

Jorge Etcheverry

Translated from Spanish by Kate Grim-Feinberg


Look: A lot of water’s gone under the bridges. A seagull

from who knows where flies in circles over those bridges,

over the river and the mountains. Over the roof of the tallest

buildings, under the sun

 
–Together we will or won’t have a chance to imitate those paths

of the birds–at our level, over the earth

 
The only thing that will rise up is the twisted flower of our

conversations–its petals without contours, with no upper vertex

Listen to me. Hide your claws. Bury the warrior’s axe

these are not the times of your Indian ancestors. Where else

would your high cheek bones have come from?

 
–There are no more potato-eating Irishmen. The Acadians

buried the rifle and the cross. My grandparents with their Basque

berets no longer cruise the southern seas.  My probable

Sephardic ancestors have allowed the traces of their

lineage to be erased in that temperate southern country

 
–Don’t listen to the measured words from the city,

whose periphery we inhabited, advising you to be calm, sweet,

everything in moderation. Stop going to the pushover therapist,

educated in the suburbs, just out of college. The people

who know say two things:

 
–Poetry is subject to a specific form (this sounds like

prose)

–It has to be about universal themes that everyone can

understand. Don’t cook fish by itself and don’t bake the cookies.

Don’t walk the streets of Chinatown, sulky, remembering. Accept

the complicity of my eyes more than that of my hands. Of

my brain more than that of my genitals. Undo the tangle that

imprisons us as you would pull the kernels off a dry cob of corn,

like the ones you use to feed the pigs on your farm...

 
There’s a reason we’re the only real poets around here,

in this place filled with small circles, professors in suits, and

housewives who write in their free time. Like a hungry condor

our poetry has to let itself be carried away by the storm. Deposit

your life in this rhythm that’s come from the other side of the

world, that joins yours, a current that sprouts from the

North Pole. Together we can do anything, even revolution. I is not

an other.

 
I is an other, if you didn’t like the one I was wearing before

I’ll hide my claws and file my fangs.
I’ll cover up

my tail with a long coat. I will cut my hair and look for

work. I will stop drinking coffee with my female friends,

always endowed with ulterior motives.


–I’m going to stop laughing at the poets here in the recitals.

I’ll stop drinking beer and smoking. I’ll stop eating

raw oatmeal in the morning—it makes me nervous—

with honey or sugar, or with jelly if there’s any

around.

 
You’ll go back to wearing your long faded skirts, and tying

your hair with a ribbon. And gathering herbs in the river

 
And I’m telling you for the last time: A walk through Chinatown

is worth more than the best published book. A cup of coffee

at the market while listening to a certain street musician is worth

more than a reading at Harbour Front.

 
I’m going to buy new blue jeans. I will say hello to your

feminist friends. The architecture of what must be done

rises up, still transparent, vague, and complicated,

like a Piranesi. This advice sounds fishy (the sacred

animal of Edessa). We must recover the space of these

thoughtless and hard-working people

 
The fact that we’re together is a universal revolution (assuming

I haven’t gone completely crazy)

 
Your friends and mine tore their hair out, tore their clothing,

threw ashes on their heads

And left with their music for some other place.

Thursday, March 12, 2015

Apocalypses with Amazons, Reviewed by Mariela Griffor


Author: Jorge Etcheverry

Publisher: Editorial Antares:
http://www.glendon.yorku.ca/antares/english/editorial.html

I like very much the tension of existential discharge contained in the pages. I like the feelings of anxiety and brusque, or better said the brutal, mental fracture that comes from some of the short stories in this collection. The shortest of these stories, and the one that bears the title of the book itself, Apocalypses with Amazons, is my favorite. It took me years to understand the work of Etcheverry and I’m not saying this for it being a lesser qualification but rather for its surrealistic complexity. It is representative of the works of the School of Santiago, created in the sixties whose slogan was “Here exists neither poetry nor prose: here exists only The Word.” A linguistic slogan that included later on the cultural class of exile.

Apocalypse of the Amazons is different from other books of magic realism coming from Chilean expat Etcheverry, it is precise and chooses his characters carefully. He portrays the feminine characters as strong, attractive, smart, vulnerable and as intellectuals. His feminine characters never subdue. Many times these women are stronger, wiser.

I’m not surprised that an author like Etcheverry had strong political views that creates an environment where reality is ‘fixed’ into an ulterior development where human values prevail, where human rights are saved and preserved, instead of the despots profiting of a modern society. Like searching for a perfect escape from a sordid reality, Etcheverry tries to ‘fix’ the outcome from the negative impact that a world that excludes so many, caused in the mind and soul of its members. The human spirit prevails in wonderful trips as “a bird that crossed the sky of fire, casting over the world the texts of what is called the operative Magic.”

Despite the criticism and cynicism from the diary of Alberto Magno, the lines of “his” literary Alberto Magno, the lines of his faithful belief in humanity pour out in some of the lines: “And like this as a species of spiritual animal, overfed and misbalanced, impregnated over all existence in the Middle Ages, amplified to the square by technology that ended demonstrating that the ideas, religions and beliefs flowing over the grey world that doesn’t produce only dragons burning the skies, but also other entities, Greta Garbo and I leave the reality flow according our desires …”.

Read this book, it will make you think. You will enjoy the reading. Etcheverry writes in this book about themes that are important, such insertion, acclimatization, dislocation, language decay and the search for the common in us. We share with him his love for the continent. His search, is a continuous search for making people from “the other Americas” more recognizable to the North.

 

Jorge Etcheverry, born in 1945, is a former member of the School of Santiago and Grupo América from the 1960s. He lives in Canada and has published poetry, prose, criticism and various articles in several countries. His books of poetry are: The Escape Artist (1981); La Calle (1986); The Witch (1986); Tánger (1991); A Vuelo de Pájaro (1998); Vitral con Pájaros (2004); and Reflexión Hacia el Sur (2004). Lately, he has appeared in anthologies such as Cien microcuentos chilenos (2002); Los poetas y el general (2002); Anaconda, Antología di Poeti Americani (2003); El lugar de la memoria. Poetas y narradores de Chile (2007); Latinocanadá (2007); Poéticas de Chile. Chilean Poets (2007); 100 cuentos breves de todo el mundo (2007); and The Changing Faces of Chilean Poetry: A Translation of Avant Garde, Women's, and Protest Poetry (2008).
 

Friday, February 6, 2015

Reflection towards the South

English translation of the opening pages of the book 'Reflexión hacia el Sur', published in 2004


We are a people strangely endowed by nature. I’ve never liked comments that suggest ethnocentrism

But we have to acknowledge we Chileans have been shaped by a set of determinants that are out of our hands. Geographic features, an elongated coast, a couple of mountain ranges, stretching from the tropics to the pole

We have asked ourselves while writing these prolegomena, the pen hovering over a piece of paper covered with horizontal lines what made the Araucanians resist the conquistadors for so many centuries

As a people we’ve not been denied a double brightness, like the moon reflected in a pool, of military victories, of cultural accomplishments at a universal level

Social upheavals, martyrs, a utopia nearly at hand. Strangled by her own umbilical cord. Abandoned in the wastelands of history

The impression I’ve always had is that of a kind of a seedbed needing lots of water and sun to bear fruit

Under the calm surface of the earth vast movements are gestating

At times the affluent classes believe they’re able to perceive this rumour, part tremor, part snore, which doesn’t let them sleep in peace, that paralyzes fingers holding glasses in the midst of parties and social reunions, looks fixed and vacant

As if an enormous bird, invisible and sinister, had flown overhead, making the entire Barrio Alto of Santiago pass through the perimeter of a tip of a wing

Like that, vast and slow, mute for decades, like healthy children of long gestation who suddenly start to walk

Like that, profound and terrible are not only the social movements but their signs 

Certain displacements of the structures of power, some cultural manifestations

Are no more than the signs of those underground movements

 As if Earth near the South Pole were a woman sleeping and dreaming the profound dream that comes with the heavy digestion of historical events, after the ingestion of a good many currents of blood
 


 
At the coast the sea turns red. Seagulls fly overhead in circles, excited
The molten lava that warms her skin flows through her veins. Her fingers move spasmodically as a reflex and she whimpers in dreams

Which are the vast fabric of sayings, maxims and refrains, the music created and the poetry written in the four corners of Santiago, in the far North, flat and desert-like, in the far South, rugged, cold and scattered over islands

We are a people strangely endowed by nature. We adapt easily to other countries though we never integrate

The adventurous nature, the laconism of the South, the British calm of some people in Valparaiso, the quick speech of the North and their liking for simple, abundant food

The beauty of woman, the slanted olive eyes, the thick mane of hair, the sensuality, the angular face
 
 

Long before the feminist explosion in North America, a flower of ambiguous petals, many ladies in Santiago were separated or had their marriages annulled

Like burlap protecting incipient sunflowers against the onslaught of the sun, the ice and the frost, safeguarding the growth of children later sent out into the world to carry out the diverse tasks of men

Justicia Espada was the first female doctor in Chile. Magaly Honorato, the first woman to be tortured and killed in jail at the beginning of the seventies

Innumerable metis women with enormous eyes and ample bosoms trace their lineage from the Araucanians, from the angular profile of Ines de Suaréz, from the myth of La Quintrala, red–haired and shrouded in fog

Violeta  Parra flies up singing, entangling several other matriarchal figures as she takes flight. The young Gabriela Mistral watches her passing over a stone wall in the Norte Chico as she walks towards the State school in a white pinafore, her hair tied up in braids

The historical events stain with blood the bosoms of corpulent women, providers for huge families who grow up hanging onto their skirts with small hands like those painted by Pedro Lobos and dark eyes looking up in wonder

Señora Marta is the center of power and social life in Coipué, the Maule River region, together with her children of pure Spanish lineage preserved in this botanical garden of boldo and hawthorn, with a working husband you don’t even notice

She brings together singers and overseers in her adobe house of inscrutable depths, distant ceilings and tiny windows

Nilda Silva, may she rest in peace, works as a water carrier at age seven. Registers herself in the school run by the priests, sees the ocean for the first time in Tal Tal, throws herself face down on the floor trembling with wonder

Raises fifteen children and others she takes in. Cares for a fallen angel of a husband who dreams and mumbles about lost treasures, who develops a form of sculpture like a scrap-iron filigree

Protects her daughters against prostitution with the Bible and the rod. Dies blessing her enemies.  The hills of Coquimbo dressed in mourning

Nana Arcaya leaves the mansion, stops attending high society dances, and hangs up her ballet slippers at age twenty after the dictator Ibáñez banishes her father, the colonel, to the Juan Fernandez Islands

She works for decades and raises two children who cannot obliterate the nostalgia

But before that, the machis, possessed, twist convulsively, as through magic they keep themselves suspended on the top of the cinnamon tree, uniting that race of broad face and strong torso and high-pitched bird-like voice, with the sky, the Earth, the sun and the mountains

Crossing the Cordillera are the Collela Ché, multicoloured birds that keep their queen, a girl of seven, afloat in the air

 

Then the lethargic conquistadors, forced out of opulent Peru by internal strife among leaders, bearded, in rags, harquebuses rusty, are scattering towards the South in the grip of a weary greediness

Their inner eyes caressing the legends of the City of the Césares and the bodies of the Indian maidens as they spill out towards the Central Valley and the far South

As their concubines cook for them in improvised ovens and dry out the powder wet from the last rain and they gamble away at dice the four corners of the world

They have been spreading their seed wherever they set up camp, leaving behind children with sensitive, perplexed eyes

The skies of the South shake in turbulence as they advance through bogs and forests, those four-legged machines whose upper part is made of metal and spits fire

For some Emissaries of God the region is the lower vertex of a triangle, one point sunk in the chest of the divinity, the other in the Crown of Spain

Later they will make an inventory of the voices of the despised language while discussing theology in an atmosphere that smells of horse dung

Four hundred thousand conquistadors lie buried, fertilizing the region called La Frontera

In the final years of the nineteen century General Bulnes launches a campaign to root out the Araucanians. The border is crossed. Those older than eight are put to the knife

Since long before, Caupolicán carried an enormous log on his back for two days and two nights. Now the children of the Araucanians load sacks of flour in the bakeries

Lautaro did intelligence work, learned military techniques, incorporated the Spanish horse into battle

After having his hands amputated, Galvarino fought with the stumps

Like a field sown with brown grain razed by a fire that cannot burn its roots, these people sit waiting on the steps of the Government Building

Five hundred years isn’t that long for people who measure time in seasons and natural catastrophes

The Indians wander among their dwellings on the humid fertile ground of Arauco, taking care of flocks of hens that lay blue or greenish eggs, eating flour with water, raising children with high-pitched voices who talk with birds and one fine day migrate to the cities to look for work

Small, well-formed hands and feet, strong torsos, eyes big and brown, prominent chests and singsong voices, an aptitude for silver work and the indisputable role of women in religious and social life

A poor metabolism of wine

They sink their feet firmly in the humid grass of the South. The official accounts downplay the size of the indigenous population. They prepare themselves to wait  another couple of centuries at best


Translated from the Spanish for Jorge Etcheverry, edited by Sharon Khan.

Friday, November 14, 2014

A Reading Peppered with Revelations



EtcheverryApocalipsis con Amazonas
Author: Jorge Etcheverry
Publisher: Antares
Toronto, 2014
Review by Marcelo Novoa
“In contrast with the Anglo-American school, Latin American fantastic literature does not constitute a clearly defined movement: it is mixed inextricably with general literature, free of stifling cultural histories, and at the same time shaped by the multiple breeding grounds of the countries that produce it, demonstrating a remarkable vitality and originality, much greater than that which prevails in the attempts at genres such as science fiction or crime fiction in the same geographic region.” – Elvio Gandolfo, Antología de Literatura Fantástica Latinoamericana (1971)

“He believed in an infinite series of times, in a growing, dizzying net of divergent, convergent and parallel times. This network of times which approached one another, forked, broke off, or were unaware of one another for centuries, embraces all possibilities of time. We do not exist in the majority of these times; in some you exist, and not I. In the present one, which a favorable fate has granted me, you have arrived at my house; in another, while crossing the garden, you found me dead; in still another, I utter these same words, but I am a mistake, a ghost.” – Jorge Luis Borges, “The Garden of Forking Paths” (1957)
1
The new fantastic literature of Latin America has a lot of work to do to differentiate itself from the European fantastic genre of old. Todorov, Vax and Campra repeat again and again their theoretical mantra, that the fantastic will always seek to provoke an emotional impression in the reader, whether by wavering between the possible human and supernatural explanations for the events narrated, or by the contradistinction of laws of the world that is familiar and/or known to us with unknown laws through events that appear supernatural, strange or magic.
With this mantra, these theorists of the centre fail to recognize the virtues of the periphery, exemplified by Borges, García Márquez or Cortázar, to mention only the most notably prolific fantastic authors of this group overexposed by the Hispanic transnationals, and therefore fail to identify the dizzying fractal of boundaries and demarcations where the reality-real opens up onto the vast undiscovered territories that these pioneers bequeathed to us.
And the new generations, as their predecessors well understood, would have to map these realms –which might now be called the space-time continuum or psycho-social coordinates– all over again. These new explorers of the strange and the impossible are playing in penalty time on a field with no lines , weaving through the implausible and the fictitious without losing contact with the ball in their effort to articulate what I tentatively define here as “the new fantastic”.
And here there are names familiar to some of you, which soon will have to be known by heart, such as Mario Bellatín (Peru), Rodrigo Fresán (Argentina), Edmundo Paz Soldán (Bolivia), Jorge Volpi (Mexico) or Roberto Bolaño (Chile), to whom I add here the Chilean poet based in Canada, Jorge Etcheverry, who, like a doorkeeper of two worlds, or rather, a two-headed griffin, given the difference in his age (a little older than those mentioned above) but not in his accurate reflection of our times (with the same themes and discourses), moves like a fish in water around dreamlike tales, strange anecdotes and grotesque characters, and through the usual fin-de-siècle topics, dystopias and mutations included, explored by the fifty odd stories included here, in this shimmering and shadowy compendium that he himself has titled: Apocalipsis con Amazonas (“Apocalypse with Amazons”).
2
The stories contained in this collection explore a wide variety of themes and styles that produce an ever-changing iridescence that is almost dizzying. But if we pause to delve into their internal resonances, their veiled meanings and their intimate pulses, we can identify some coordinates that will help us understand this motley assortment that reveals to us the emperor’s new clothes, although, it must be said, only for clever readers who know how to read between the lines. In this respect, for their diction and construction of world-metaphors, an irresistible poetic spirit is instantly recognizable in certain short tales such as “Un baño”, “El retrato de Dios”, “Retorno con sueño, súcubos, cielo y risas de niñas jóvenes”, “Universo de espejos” and “El saltimbanqui”, among many others scattered through the collection; veritable snapshots with a feverish sensitivity that burn the retina permanently with their beauty and depth.
At the same time, humour and satire can also be found, in stories such as “Rapto por extraterrestres”, “Miniapocalipsis con playa”, “Partenogénesis poética”, “Huidobro literal”, “El secreto de Pedro Armendáriz”, “Acabo de mundo” and “Sin noticias de Despeloteria”. In all these cases, the freshest of fantastic literature draws out our laughter with gentle and fierce, poetic and evocative stories that act as an incessant challenge to our established conception of reality, that blindness that we call common sense, revealing to us the tensions and harmonies between author and his extra-literary world, which – what a surprise! – are identical to the ones that plague us, his busy readers.
On the other hand, animalization –in both its terrestrial and its extraterrestrial versions– is a masterly strategy in the hands of this author, used to signal secret aspects of our veiled fin-de-siècleidentity, so rational as to verge on the bestial, as can be found in “Mujeres extraterrestres en un café”, “Murmullo”, “Las ratas en Ciudad de México”, “El horror austral” or “Testimonio ocular”, which playfully pierce the boundaries between genres like horror and science fiction in search of a new unstable centre of balance, as masterfully resolved in the evocative and heartrending story “La trampa”.
Finally, as a kind of personal coda, I would like to draw attention to three stories that for me reflect the unquestionable value of Jorge Etcheverry’s work and of the real contribution it makes to contemporary fantastic literature. The first of these is the almost perfect work of camera noir, “Tarde en la playa”, worthy of inclusion in any anthology of crime mysteries, in which, beneath the interwoven violence, desire and crime typical of the genre, there persists an apparent indifference on the part of the narrator, who reveals his psychopathic nature just as so often happens today with many an exemplary neighbour.
Another is “Metamorfosis II”, which recreates the Kafkaesque cliche only to turn it upside down with an unexpected twist. And it is this sensitive and desperate diatribe against the exasperating literary powers launched by this “insect with airs of misunderstood genius”, that finally reveals to us an honest, courageous and consistent author, capable of staring straight into the face of his ghosts, horrors and nightmares, which, although veiled, are omnipresent.
And it is with “La solución definitiva” that all our doubts are dispelled. Here, the obscure and irrelevant narrator-witness who recounts to us the freefall of a pathetic artist named Raymond, on a downward spiral that will take him from failure to madness, and whose sins, contradictorily, will be what redeem him from our pity. All the stories are corroded by an acid gaze over the “spirit of the times”, as the author knows he is located at the same historical-material coordinates that imprison his characters (exile, the 60s, environmentalism), introducing into this classic variant of the fantastic genre (secret sects, hidden truths, conspiracies) the real events that have tormented his whole generation, who today struggle between disappearing into the shadows of amnesia or transforming into shining ghosts of a new movement. The whole collection transmits a tense existential discharge, whose truthfulness leaves us with a bitter aftertaste.
I invite readers to explore this book now for themselves, to get lost and found again in other themes, characters and settings as abnormal and fascinating as those mentioned above, which will surely give them more than one surprise or shiver.
3
My random or scattered reading of the stories of the collection Apocalipsis con Amazonas briefly commented on here has left me with a sensation of restlessness and a shudder of abnormality in each case, but in the process has offered me a furiously contemporary picture of our brutally fractured fin-de-siècleworld, where nothing is what it seems, and our intentions, more often than not banal and egotistical, only serve to reveal a web of machinations and absurdities that could make our worst nightmares seem innocuous. Because nothing so resembles the appalling reality than the hell in which we have chosen to live until our end.
And Jorge Etcheverry intuits this in the stories contained here, many of them remarkable, absorbing, and always marked by verbal wit. Because he valiantly warns us, with a twisted smile, as is the responsibility of every Latin American veteran of a thousand wars, that nobody gets out of here except on wings of imagination and insanity, which in strict poetic terms might well be the role of these stories told here.
Translated by Martin Boyd
Marcelo Novoa holds a doctorate in fantastic literature, and is a publisher and anthologist of the genre in Chile. He is also the director of the website: www.puerto-de-escape.cl. This review was originally published in: http://etcheverry.info/hoja/actas/notas/article_1779.shtml