Tras las huellas de Pablo Neruda: Un homenaje a Hernán Loyola ed. by Greg Dawes

This chapter focuses on a paradigmatic misencounter between an American experiencer and a Latin American reader. Examining an implicit debate about the sources of Walt Whitman’s poetry and vision of the Americas, I argue that Waldo Frank, one of the twentieth century’s main literary ambassadors from the US to Latin America, positioned Whitman as the representative US writer whose antibookish experiential aesthetics could serve as a model for “American” writers both in the North and in the South. I show how Frank’s framework provided a foil for Borges’s idiosyncratic view that Whitman’s poetry about America derived entirely from his readings of European and US writers. Although much of the best scholarship on Whitman’s reception in Latin America has concentrated on poets like José Martí and Pablo Neruda, who adapted Whitman’s naturalism, I contend that Borges’s iconoclastic portrait of Whitman as a reader profoundly influenced a range of anti-experiential literary theories and practices in Latin America.

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Hemispheric Solidarities

10.1093/oso/9780190682002.003.0002 ◽

2017 ◽

Author(s):

Harris Feinsod

Keyword(s):

Public Good ◽

Puerto Rican ◽

Cultural Diplomacy ◽

Langston Hughes ◽

William Carlos Williams ◽

Popular Front ◽

Pablo Neruda ◽

Racial Democracy ◽

Good Neighbor

This chapter introduces the unlikely roles poets played at the center of hemispheric cultural diplomacy initiatives in 1938–1945, the years when Good Neighbor diplomacy was motivated by a broad antifascist coalition. The chapter discusses major diplomat-poets like William Carlos Williams, Pablo Neruda, Archibald MacLeish, and Langston Hughes, and compares these writers to Puerto Rican poet Julia de Burgos, Ecuadorian Consul General Jorge Carrera Andrade, soldier-poet Lysander Kemp, and others who coalesced around the anthologies, translations, and congresses of Good Neighbor initiatives. Borrowing metaphors of bridging and broadcasting from new infrastructures of hemispheric modernization, and invoking strategies of apostrophic address to an impossibly large hemispheric public, Good Neighbor poetry promoted Popular Front antifascism, but also enabled advocates of decolonial politics, racial democracy, and international feminism.

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Übersetzen als Entharmonisierungsstrategie

Internationales Archiv für Sozialgeschichte der deutschen Literatur ◽

10.1515/iasl-2019-0017 ◽

2019 ◽

Vol 44 (2) ◽

pp. 382-398

Author(s):

Claus Telge

Keyword(s):

German Literature ◽

Symbolic Capital ◽

Pablo Neruda ◽

Complex Relationship ◽

Translation Strategy ◽

Post War ◽

Hans Magnus Enzensberger ◽

Formative Years

Abstract As a young poet, Hans Magnus Enzensberger sought to garner symbolic capital in the formative years of post-war German literature by translating Pablo Neruda. By arguing that Enzensberger uses a deharmonizing translation strategy to explore his distrust of metaphor, the article maps out coordinates for rethinking the complex relationship between Enzensberger’s poems and translations.

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Poetas chilenos y sus dobles orientales: impostores y plagios

Iberoromania ◽

10.1515/iber-2018-0003 ◽

2018 ◽

Vol 2018 (87) ◽

pp. 68-82

Author(s):

Pablo Faúndez Morán

Keyword(s):

Pablo Neruda ◽

Siglo Xx

ResumenEl artículo rescata dos episodios de la vida literaria de las primeras décadas del siglo XX en Chile: la publicación del poemario Fragmentos del poeta afgano Karez-I-Roshan en 1921, y la acusación de plagio contra Pablo Neruda el año 1934. Ambos informan de una situación atractiva: dos veces y de formas distintas el poeta chileno se transfiguró en poeta oriental. La lectura propuesta permite apreciar a partir de ellos dos niveles en que el intercambio literario-cultural entre Chile y Oriente se vio obstaculizado por la mediación europea: primero, en la comprensión de un sistema de producción y difusión de las obras, y segundo, en la de la pertenencia de los escritores locales a una tradición occidental.

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