Purgatory: A Bilingual Edition
“Individual” makes an attempt to “record” reminiscence, to represent a trajectory of that means, yet that attempt proves most unlikely. The target to find a ancient or mnemonic narrative—Neruda’s “where I’ve been” and “where I come from”—that manages to express “I” the “Individual” is futile simply because “life” itself “has no meaning.” that's, reminiscence and heritage can't discover a narrative or poetic shape simply because “life” can't be sequenced, ordered, or made logical in anyway. Purgatory Zurita sought Neruda’s communion of.
LLAMAN MI PROPIA MENTE EL DESIERTO DE CHILE 28 LIKE A DREAM in fact: this can be the wasteland of Atacama outstanding it didn’t price a dime to get there and also you haven’t visible the wasteland of Atacama —listen: you observed it in the market didn’t you? good for those who haven’t obvious it simply pass as soon as and for all and go away me the fuck by myself LAPSES AND DECEITS ARE referred to as my very own brain THE barren region OF CHILE 29 COMO UN SUEÑO Mirá qué cosa: el Desierto de Atacama son puras manchas sabías? claro pero no te costaba nada.
Pampas del Desierto de Atacama forty two THE desolate tract OF ATACAMA III i. The deserts of atacama are blue ii. The deserts of atacama aren’t blue move forward say what you are going to iii. The deserts of atacama aren’t blue simply because in the market J. Christ’s spirit didn’t fly he used to be misplaced iv. And if the deserts of atacama have been blue nonetheless they can be the Chilean Oasis in order that from each nook of Chile gladly you’d see flaming via the air the blue pampas of the wilderness of Atacama forty three EL.
In a panorama of rivers, cordilleras, oceans, and sky. The final verse of this article, “Ni pena ni miedo,” “No disgrace no fear,” monumentally inscribed by means of Zurita within the barren region of Atacama in 1993, concludes this epic travel de strength. in past times thirty years, Zurita has released quite a few volumes of poetry and prose, together with El paraíso está vacío (1984), Canto a su amor desaparecido (1985), Canto de los ríos que se aman (1993), Poemas militantes (2000), El día más blanco (2000), INRI (2003), Mi.
Rendering of the reminiscence that was once as a lot Zurita’s because it used to be Chile’s. To “speak again,” to “say whatever to someone,” Zurita pieced jointly a number of kinds and voices. the result's an uncanny postmodern university of doubtless unrelated registers, languages, and records that diversity from an identity card photograph, a handwritten letter, and encephalograms to Dante and Neruda, non-Euclidean geometries, and the pathos of a cow. The desolate and unsettling poetic voice expands and contracts because it traverses.