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César Vallejo
Trilce
Title: Trilce
Author: César Vallejo
Format: Paperback
Language: English
Pages: 256
Publisher: , 0
ISBN: 0907562728
Format: PDF / Kindle / ePub
Size: 6 MB
Download: allowed
Description
'Trilce' is one of the great monuments of 20th-Century Hispanic poetry, as important in Hispanic
letters as 'The Wasteland' and 'The Cantos' in the anglophone world, and all the more amazing
for having been composed in remote Peru. Full of neologisms and symbols, the book is one that
needs to be re-translated often, but this is only the second version to appear in the UK, and the
fourth in the USA. A fully bilingual book, the Spanish texts are based upon the very latest
scholarship, and are presented with full explanatory annotations for the English-speaking
reader. Apart from the canonical text of 'Trilce', the book also includes an appendix of a further
eight poems that were left out of the final published version of the book, but which it is useful to
have available with the core text. The translations are by the Irish poet, and award-winning
translator, Michael Smith, and the Peruvian scholar Valentino Gianuzzi.
Insightful reviews
Víctor Sampayo: No hay mucho que decir frente a una obra maestra
Xavier: Realmente un 3,5. Pensé en ponerle cuatro por lo radical y experimental de la poesía
pero muchos términos que Vallejo usa en este poemario simplemente me han dejado perdido y
con la necesidad de revisar un diccionario. Aun así la vanguardia es tal, que es definitivamente
un cinco, por la originalidad y los caminos que abre su poesía, al cuestionar las formas de
expresión poética, su lógica, sus intentos vanos de comunicación, Trilce desenmascara en
cada poema los límites del lenguaje, y los límites de la producción poética.
Este libro volveré a leerlo en unos cuantos años, por el simple hecho de comprobar el efecto
que su encuentro tuvo en mi.
Melanie: This is a blog I wrote midway into reading Vallejo. It is mostly quotes from Vallejo and
the translator because the work and the translation process really speak for themselves in this
case. I loved it.
It's rare that I read entire books of poetry, but that's only because I'm not normally compelled by
young men in the Peruvian jungle to do so. That was all it took for me to read Trilce by César
Vallejo and to tediously retype the following, from 1919:
X
Prístina y última piedra de infundada
ventura, acaba de morir
con alma y todo, octubre habitación y encinta.
De tres meses de ausente y diez de dulce.
Cómo el destino,
mitrado monodáctilo, ríe.
Cómo detrás desahucian juntas
de contrarios. Cómo siempre asoma el guarismo
bajo la línea de todo avatar.
Cómo escotan las ballenas a palomas.
Cómo a su vez éstas dejan el pico
cubicado en tercera ala.
Cómo arzonamos, cara a monótonas ancas.
Se remolca diez meses hacia la decena,
hacia otro más allá.
Dos quedan por lo menos todavía en pañales.
Y los tres meses de ausencia.
Y los nueve de gestación.
No hay ni una violencia,
El paciente incorpórase,
y sentado empavona tranquilas misturas.
I've been reading more and more writing in translation. One of my favorite parts of reading my
favorite Peruvian authors, who like to make up words or put Spanish into Quechua syntax, is
the accompanying essays by the translators. Clayton Eshleman translated the Vallejo book, and
the above poem thusly:
X
The pristine and last stone of groundless
fortune, has just died
with soul and all, October bedroom and pregnant.
Of three months of absent and ten of sweet.
How destiny,
mitred monodactyl, laughs.
How at the rear conjunctions of contraries
destroy all hope. How under every avatar's lineage
the number always shows up.
How whales cut doves to fit.
How these in turn leave their beak
cubed as a third wing.
How we saddleframe, facing monotonous croups.
Ten months are towed toward the tenth,
toward another beyond.
Two at least are still in diapers.
And the three months of absence.
And the nine of gestation.
There's not even any violence.
The patient raises up.
and seated enpeacocks tranquil nosegays.
Eshleman talks about staying true to Vallejo's misspellings and inconsistent punctuation unless
it's very clearly a printing mistake and about the ways he worked to find English-language
equivalents for Vallejo's idioms, "Peruvianisms," nouns as verbs, verbs as nouns, and invented
words. This seems like a fairly obvious and artful, albeit very tedious, way to work as a
translator, but according to Eshleman--and this kind of cattiness is another thing I like about
reading translators' notes--Vallejo's past English-language translators had not been so careful.
Eshleman's notes and explanations about his translating decisions with certain sticky words
appear after his translation.
After spending a few weeks trying to think and speak a language I barely know while speaking
very basic English in order to be understood, this kind of precision is something I can really get
into. And: hot or not?
Ed: released in 1922, an identical yr because the Wasteland; a hard read, yet certainly worthy it.
Eddie: In an precedent days of my everlasting transience i used to be courting a girl from Spain
and primary interpreting Cesar Vallejo and being trapped inside of my English I requested her to
learn one or of the poems during this assortment and provides me her impression. She read,
then answered by way of spontaneously executing a fancy physique circulation which included
(among a large number of corporeal micro-moves) a dramatic shoulder shrug and a haughty flip
of her head with chin upthrust, by no means uttering a word. This inspired me no end, for I too
notion (and nonetheless think) complicated of phrases can at once exhibit the body, absolutely
bypassing the roundabout direction of ideating verbalization, which I comprehend turns out a
contradiction, for the way can phrases now not be verbal? in fact phrases are verbal, yet
principles are usually not inevitably expressed in words, and phrases usually occlude poetry and
a whole and intricate circulation of the physique is a greater expression; and there's a deeper
community of which means in the physique that may originate within the mind (and also be
transiently contained in words) yet that's a flesh-covered ball of sunshine straining in any
respect exits with out different which means yet itself.
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