"Mariposas" (original) (raw)
"Mam" and "Guepy": Two Valley Zapotec poems (Lopez & Lillehaugen 2017)
Latin American Literary Review, 2017
This work consists of two poems written in San Lucas Quiaviní Zapotec, a Valley Zapotec language spoken in the state of Oaxaca, Mexico. The poems are presented with English and Spanish translations, notes about the poet and translator, explanation of the translation process, and culture information.
Ygdrasil, A J'ournal of the Poetic Arts , 2006
CLAYTON ESHLEMAN: A TRANSLATION MEMOIR For nearly forty-five years, I have been translating, off and on, the poetry of César Vallejo. His writing has become the kelson in the ship of poetry I have attempted to construct. Here I would like to offer an overview of this translational companionship and to evoke some of the experiences that occurred because of it. Finally, I would like to say what this companionship has meant to me, as a poet and as a human being.
Twenty-one Haikus by Fernando Pessoa
Pessoa Plural―A Journal of Fernando Pessoa Studies, 2016
FERRARI, Patricio; PITTELLA, Carlos, "Twenty-one Haikus by Fernando Pessoa" (2016). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. 9, Spring, pp. 184-229. Brown Digital Repository. Brown University https://doi.org/10.7301/Z0W957CZ Is Part of: Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 9 Twenty-one Haikus by Fernando Pessoa [Vinte e um Haikus de Fernando Pessoa] https://doi.org/10.7301/Z0W957CZ ABSTRACT We present here a corpus of twenty-one haikus written by Fernando Pessoa, sixteen of them in English (here published for the first time) and five of them in Portuguese (one of them previously unpublished)-each poem accompanied by facsimile and critical apparatus. The documents are preceded by an introduction which aims to reconstruct the direct and indirect influences of Yone Noguchi, Ezra Pound, Walter Pater and Rogelio Buendía on the Pessoan project of recreating, in English and Portuguese, this poetic form of Japanese origins. RESUMO Apresentamos aqui um corpus de vinte e um haikus escritos por Fernando Pessoa, dezesseis deles em inglês (aqui publicados pela primeira vez) e cinco deles em português (um desses inédito)-cada poema acompanhado de facsímile e aparato crítico-genético. Aos documentos precede uma apresentação que busca reconstruir as influências diretas e indiretas de Yone Noguchi, Ezra Pound, Walter Pater e Rogelio Buendía sobre o projeto pessoano de recriar, em inglês e português, esta forma poética de origem japonesa. * University of Lisbon, Center for Comparative Studies (Post-doctoral Research Fellowship funded by the Fundação para a Ciência e a Tecnologia) [the Portuguese national funding agency for science, research and technology] between 2013-2015. Currently in the MFA program at Brown University. BIBLIOGRAPHY ANESAKI, Masaharu (1907). Religious History of Japan: an outline with two appendices on the textual history of the Buddhist scriptures. Tokyo: “Revised for private circulation from the article written for the Encyclopedia Americana.” (Fernando Pessoa House, Call number 2-2). AZEVEDO, Maria da Conceição Fidalgo Guimarães Costa (1996). Fernando Pessoa, Educador – Encontro de si próprio, consciência da missão, fidelidade ao ser. Braga: APPACDM. BOSCAGLIA, Fabrizio (2016). “As Chronicas Decorativas de Fernando Pessoa: edição crítica de oito documentos,” in Pessoa Plural – A Journal of Fernando Pessoa Studies, n.º 9, pp. 151-186. BUENDÍA, Rogelio (1923). La rueda de color. Huelva: Talleres Tipográficos de la viuda de J. Muñoz. (Fernando Pessoa House, Call number 8-77). CARDIELLO, Antonio (2016). “Os Orientes de Fernando Pessoa: adenda”, in Pessoa Plural — A Journal of Fernando Pessoa Studies, n.º 9, pp. 131-150. CHAMBERLAIN, Basil Hall (1910). Japanese Poetry. London: John Murray. EWICK, David (2003). Japonisme, Orientalism, Modernism: A Bibliography of Japan in English-Language Verse of the Early Twentieth Century. Online publication at Inthemargins.net. FENOLLOSA, Ernest and Ezra POUND (1919). “The Chinese Written Character as a Medium for Poetry” [in four installments]. The Little Review, VI: 5/Sep. (pp 62-64), 8/Oct. (pp. 57-64); 9/Nov. (pp. 55-60), and 10/Dec. (pp. 68-72). FERREIRA, António Mega (1986). Fernando Pessoa – O Comércio e a Publicidade. Lisbon: Cinevoz/ Lusomedia. HAIKU SOCIETY OF AMERICA [HSA] (2004). Official Definitions of Haiku and Related Terms. [Available at http://www.hsa-haiku.org/archives/HSA\_Definitions\_2004.html\]. Web. Accessed on March 10, 2016. HAKUTANI, Yoshinobu (1992). “Ezra Pound, Yone Noguchi, and Imagism,” in Modern Philology, n.º 90, pp. 46-69. HAYES, Bruce (1995). Metrical Stress Theory: Principles and Case Studies. Chicago: University of Chicago Press. LEMINSKI, Paulo (2013). “Bashô – a Lágrima do Peixe.” Vida: Cruz e Sousa, Bashô, Jesus e Trótski – 4 Biografias. São Paulo: Companhia das Letras, pp. 79-153. MCNEILL, Patricia Silva (2015). “Mediating Transnational Reception in Portuguese Modernism: Fernando Pessoa and the English Magazines.” Fernando Pessoa as English Reader and Writer. Portuguese Literary & Cultural Studies. Patricio Ferrari and Jerónimo Pizarro (guest editors), n.º 28, Spring 2015, University of Massachusetts, Dartmouth, Tagus Press, pp. 82-108. NOGUCHI, Noguchi, Yone (1921). Japan and America. Tokyo: Keio University Press. ____ (1915). The Spirit of Japanese Art. New York: Dutton. ____ (1914a). The Spirit of Japanese Poetry. Wisdom of the East Series. London: John Murray. ____ (1914b). “Japanese Poetry,” The Transactions of the Japan Society of London, n.º 12, pp. 86–109. ____ (1914c). Through the Torii. London: E. Matthews. [Republished in 1922. Boston: Four Seas.] ____ (1913). “What Is a Hokku Poem?,” in Rhythm, vol. 11, n.º 10, January, pp. 354–359. ____ (1904). “A Proposal to American Poets,” in Reader, vol. 3, n.º 3, pp. 248. PATER, Walter (1915). The Renaissance. London: Macmillian & Company. (Fernando Pessoa House, Call number 8-425). PESSOA, Fernando (2015). “Chronicas Decorativas” (Ed. Jorge Uribe), in Gratuita, vol. 2, pp. 154-156. ____ (2013). Eu Sou Uma Antologia: 136 autores fictícios. Edited by Jerónimo Pizarro and Patricio Ferrari. Lisbon: Tinta-da-china. ____ (2006). Poesia 1931-1935 e não datada. Edited by Manuela Parreira da Silva, Ana Maria Freitas and Madalena Dine. Lisbon: Assírio & Alvim. PIZARRO, Jerónimo, Patricio FERRARI and Antonio CARDIELLO (2011). “Os Orientes de Fernando Pessoa,” in Cultura Entre Culturas, n.º 3. Lisbon: Âncora, pp. 148-185. ____ (2010). A Biblioteca Particular de Fernando Pessoa. Collection of the Fernando Pessoa House. Bilingual edition. Lisbon: D. Quixote. POUND, Ezra and Dorothy SHAKESPEAR (1984). Ezra Pound and Dorothy Shakespear: Their Letters, 1909- 1914. Edited by Omar Pound and A. Walton Litz. New York: New Directions. POUND, Ezra (1934). ABC of Reading. London: George Routledge. ____ (1914a). “Vorticism,” in Fortnightly Review NS, n.º 96, September, pp. 461-471. ____ (1914b). “Edward Wadsworth, Vorticist,” in Egoist, n.º 1, August, pp. 306-307. ____ (1914c). “Vortex,” in Blast, n.º 1, June. 153-154. (Fernando Pessoa House, Call number 0- 29MN). ____ (1913). “In a Station of the Metro,” in Poetry, n.º 2, April, p. 12. SAEZ DELGADO, Antonio (2015). Pessoa y España. Valencia: Pre-textos. URIBE, Jorge (2015). “Pessoa’s Walter Pater: Archival Material from a Reading Story,” in Fernando Pessoa as English Reader and Writer. Portuguese Literary & Cultural Studies. Patricio Ferrari and Jerónimo Pizarro (guest editors), n.º 28, Spring, University of Massachusetts, Dartmouth, Tagus Press, pp. 188-226. VIEIRA, Monsehor Primo (1991). “Fernando Pessoa e o hai-kay.” Actas do IV Congresso Internacional de Estudos Pessoanos, vol. II. Porto: Fundação Eng. António de Almeida, pp. 181-189.
Mam" and "Guepy": Two Valley Zapotec poems
2017
This work consists of two poems written in San Lucas Quiaviní Zapotec, a Valley Zapotec language spoken in the state of Oaxaca, Mexico. The poems are presented with English and Spanish translations, notes about the poet and translator, explanation of the translation process, and culture information.
Toward a Poetics of Chile . . . in Another Mexico
Gastronomica, 2023
Memory is the secretary of oblivion. she arranges the past in filing cabinets. But when there is no more future but only a fixed present all that we have lived comes to life again