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Showing posts with label <b>Dolores Dorantes</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a>
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<div class='status-msg-hidden'>Showing posts with label <b>Dolores Dorantes</b>. <a href="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/">Show all posts</a></div>
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<h2 class='date-header'><span>Thursday, June 21, 2012</span></h2>

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<p class=MsoNormal align=center style='text-align:center;line-height:150%'><span style='font-size:12.0pt;line-height:150%;font-family:"Arial","sans-serif"; color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'><a href="http://www.poetryinternationalweb.net/pi/site/poet/item/21990/Marije-Langelaar"><span class=SpellE><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint: 242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Marije</span></span><span style='color:#0D0D0D; mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D; mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha:100.0%; mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'> <span class=SpellE>Langelaar</span></span></a>, <a href="http://www.poetryinternationalweb.net/pi/site/poet/item/21849/Dolores-Dorantes"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>Dolores <span class=SpellE>Dorantes</span></span></a>, <a href="http://www.poetryinternationalweb.net/pi/site/poet/item/2723/K.-Satchidanandan"><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242;mso-style-textfill-fill-color: #0D0D0D;mso-style-textfill-fill-themecolor:text1;mso-style-textfill-fill-alpha: 100.0%;mso-style-textfill-fill-colortransforms:"lumm=95000 lumo=5000"'>K. Satchidanandan</span></a><br> read in <a href="http://www.poetryinternationalweb.net/pi/site/festival/video/en"><span class=GramE><span style='color:#0D0D0D;mso-themecolor:text1;mso-themetint:242; mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor:text1; mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>Rotterdam</span></span></a><br> </span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt; line-height:150%;font-family:"Arial","sans-serif";color:#0D0D0D;mso-themecolor: text1;mso-themetint:242;mso-style-textfill-fill-color:#0D0D0D;mso-style-textfill-fill-themecolor: text1;mso-style-textfill-fill-alpha:100.0%;mso-style-textfill-fill-colortransforms: "lumm=95000 lumo=5000"'>(<span class=SpellE>Dorantes</span> is virtual due to<br> ass-backward US immigration law)</span></i><span style='font-size:12.0pt; line-height:150%;font-family:"Arial","sans-serif"'><br style='mso-special-character: line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, January 30, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8220;The words are my life&#8221; is a peculiarly American sentiment. It is what connects Louis Zukofsky, who actually coined this claim, to Walt Whitman as well as to Ezra Pound, as well as to Beverly Dahlen, Rob Fitterman &amp; Rachel Blau DuPlessis, the animating principle that underlies all attempts at the true long poem, or what might more accurately be called the life poem. In </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Canada</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, by way of contrast, the long poem seems much more to be about the poem as book. And there more than a few booklength Quietest long poems as well. In </span><st1:country-region><st1 place><span style='font-size:10.0pt;font-family:Arial;color:black'>England</span></st 1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>, in spite of such earlier examples as Chaucer, Spenser, Milton &amp; Browning, only David Jones &amp; Allen Fisher really seem to have taken on the challenge in this past century. So to come across a major new instance of exactly this perspective, this time from Mexico, is &#8211; for me at least &#8211; as exciting as it gets. And because it&#8217;s well written &amp; well translated, this book is a total thrill. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'><a href="http://www.counterpathpress.org/aupgs/dorantes/dorantes.html"><span style='color:black'>Dolores Dorantes</span></a> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is both the title &amp; <a href="http://dorantes.blogspot.com/"><span style='color:black'>author</span></a> of this work, which in fact consists of two books &#8211; <span class=SpellE><i style='mso-bidi-font-style:normal'>SexoPUROsexoVELOZ</i></span><i style='mso-bidi-font-style:normal'> </i>&amp; <span class=SpellE><i style='mso-bidi-font-style:normal'>Septiembre</i></span><i style='mso-bidi-font-style:normal'> </i>&#8211; that are volumes two &amp; three of this project. (It&#8217;s a little unclear if the first volume still exists, having apparently been folded into these texts.) Dorantes&#8217; frame of reference, so far as I can tell, is far removed from North American poetics &#8211; I see no concern here with how this might intervene into our poetry discussions, tho she often employs literary devices that will seem familiar to anyone who has read <i style='mso-bidi-font-style:normal'>Spring &amp; All </i>or any of the New American Poets: a deft free-verse line; willingness to use the page spatially for rhetorical reasons; a willingness to jump discourses in a single line. Here is one relatively simple passage from the first volume:<o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>COME WITH THE BOATMAN</span></i><span style='font-size:10.0pt;font-family:Arial;color:black'><br>
<i style='mso-bidi-font-style:normal'>a madness<br>
&#8211; forbidden &#8211;<br>
inside you </i>the she-deep you<br>
<br>
Beneath a dress<br>
you&#8217;ll brandish the sickle<br>
<br>
<i style='mso-bidi-font-style:normal'>anchor my tide will devour</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>HTML can&#8217;t replicate the small caps of the first line (or maybe it&#8217;s that I can&#8217;t), but you can see, even here, when it is a continuous voice &amp; perspective throughout that the seven-line passage is filled with shifts marked by letter &amp; punctuation. One might argue (were one a dunce) that the image of woman as ocean is by now a cliché, which it might be were it not for the allegory of the boatman constructed upon it, placed in within a context in which &#8220;you&#8221; &#8211; is that the second person here, or the first person addressing herself? &#8211; contains something interior associated both with the sickle (an image both of peasant life &amp; a political party) &amp; its formal kin, the anchor. This passage can be read any number of different ways, all depending on how the reader fills the <i style='mso-bidi-font-style:normal'>you </i>in the fourth &amp; sixth lines &#8211; make it a man &amp; you have a gender-bending moment, make it a woman &amp; you have an instance of same-sex eros, make it the author &amp; it&#8217;s something else again. Make it yourself, <span class=GramE>well,</span> it could be any one of the above, couldn&#8217;t it? Dorantes, the author, has no interest in separating these out for us, which leads to a very particular kind of text, one that is continually in process, never settled. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I would compare the experience of reading her work, especially the first of these two projects, with looking at a mobile, except that one tends to look at mobiles from a stationary position exterior to the process, where Dorantes&#8217; texts feel far more interior &amp; indeterminate &amp; the reader has fewer opportunities to step back &amp; take it all in. Imagine instead a waterslide at a theme park built into and through a giant mobile &#8211; then turn the humidity way up. <i style='mso-bidi-font-style:normal'>Dolores Dorantes </i>feels more like that. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Septiembre</span></i></span><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'> </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>is the more stable of the two works, and here Dorantes can sound at times almost like George Oppen. Imagine this as a section of <span class=SpellE><i style='mso-bidi-font-style:normal'>Of</i></span><i style='mso-bidi-font-style:normal'> Being Numerous:</i><o:p></o:p></span></p>

<p class=MsoNormal style='margin-top:0in;margin-right:0in;margin-bottom:12.0pt;margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>The world (<i style='mso-bidi-font-style:normal'>before) </i>defending itself<br>
<br>
now lies<br>
upon men<br>
<br>
They move it<br>
voices moving tides<br>
Without will (<i style='mso-bidi-font-style:normal'>the world</i>)<br>
<br>
<i style='mso-bidi-font-style:normal'>desolate<br>
<br>
</i>we carry it ourselves<br>
(<i style='mso-bidi-font-style:normal'>in ourselves):<br>
<br>
</i>multitude<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Like Oppen, Dorantes is a profoundly political poet, tho her own politics feel far from the 1940s Popular Front that was coin of the realm for the Objectivists. Ultimately, tho, any </span><st1:country-region><st1 :place><span style='font-size:10.0pt;font-family:Arial;color:black'>U.S.</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> frame for reading Dorantes &#8211; even one in which she becomes a major new practitioner of the life poem &#8211; is going to fail, simply because it isn&#8217;t the frame she&#8217;s using. Living in Ciudad <span class=SpellE>Juárez</span> may put her right on the border, but it is quite clear just where her commitments really are. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=GramE><span style='font-size:10.0pt;font-family:Arial;color:black'>A word about Jen Hofer&#8217;s role here as translator.</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> For many years already, she&#8217;s been doing important and powerful work making the poetry of </span><st1:country-region><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Mexico</span></st1:place></st1 :country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> &#8211; and the poetry of women in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Mexico</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> in particular &#8211;
available in the </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>US</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'>. Every national literature should have at least one of her. I can&#8217;t think of anyone who has done this much to bring writing from south of the border to us since Meg Randall and Sergio <span class=SpellE>Mondragon</span> were publishing <i style='mso-bidi-font-style:normal'>El <span class=SpellE>Corno</span> <span class=SpellE>Emplumado</span> </i>in the 1960s. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>When Kent Johnson &#8211; who along with Forrest Gander has been doing some of this himself &#8211; excoriates contemporary (or recent) American poetry for paying too little heed to the project of translation &amp; the literatures of other languages, I have to agree with him, even when I&#8217;m the person at whom he&#8217;s wagging a finger. I may excuse my own lack of a second language &#8211; a single homophonic translation of Rilke does not get me a pass &#8211; as a consequence of my working class education (nobody expected me to go college &amp; my own college record sort of shows that), but it doesn&#8217;t mean that I don&#8217;t also feel this absence as a lack. So, from my perspective, Jen Hofer is all the more valuable, as are Kent &amp; Forrest &amp; anyone else doing this work, because I can&#8217;t get to this writing any other way. <o:p></o:p></span></p>
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