Los mecanismos del olvido.

Apuntes Hispánicos, 2003

s poetry takes his readers on a journey through the inner landscapes of his consciousness on the road to his becoming. Turning his poetic focus away from the distractions of external reality, he creates a new self-referential universe that gives form to the nature of his soul. 1 He explicitly articulates his desire to give poetic form to his soul in the Eternidades when he comments in poem 2 of the collection: "mi alma ha de volver a hacer/ el mundo como mi alma (307)." 2 Although Jiménez attempts to retreat inward in order to create his own private universe, the external world influences his poetic vision. It is precisely the clash between these two forces, the internal universe and the external world, that shapes his poetry and that simultaneously fragments the poetic self and the poet's coming to consciousness. In what follows, I intend to explore the inner landscapes of the collection of poems of Estío, the Díario and Eternidades in order to examine the fragmentation of the poetic self that dominates the poetic voice (s) within these collections. 3

2010

De la nueva luz approaches the late poetry of Juan Ramó n Jiménez from several angles, critical, biographical, and comparative. The ten chapters comprising this book were written on separate occasions, and seven of them were published separately in shorter versions. The first section of the book, ''Hacia otra desnudez,'' approaches Juan Ramó n's poetry and life on their own terms, while the second, ''Afinidades e influencias,'' employs a comparative method, relating the poet to other significant figures, including his wife Zenobia Camprubí. Given the way in which this book has taken shape, there are some unnecessary repetitions of ideas and textual examples, but these are minor distractions in an otherwise wellconceived book. There is no question that Professor Juliá, the author and editor of previous volumes on Juan Ramó n, is in a position to speak with authority about his poetic achievement. Her erudition and her admiration for the poet are evident on virtually every page of the book, as she strives to defend him against certain persistent misconceptions or caricatures of his personality. She is particularly anxious to remove Juan Ramó n from his ivory tower, emphasizing his engagement with the outside world during his exile years. At the same time, she never denies that he was also a difficult individual whose conduct often alienated others. The author writes with admirable clarity and concision throughout, making this j 329

2010

University of Bucharest Review, vol. 2: Religion and Spirituality in Literature and the Arts, 2015

López Velarde (RLV) has long been regarded as Mexico's 'national poet'. Among other important themes, such as the idealization of the Mexican hinterland, his prose and verse are characterized by a very stark dualism: flesh and spirit, Catholic devotion and unabated lust. The first part of this article summarizes the most relevant biographical information. This places Ramón López Velarde in the Mexican context of the early XX Century. The second part of this article analyses the metaphoric representation of lust and desire as a religious experience, and vice versa. This accounts for his poetry to be symbolically represented as oscillation. This movement, however, seems to cease and-paradoxically-gain momentum, in his love and lust for women. Women thus become symbols of chastity and religious piety while remaining the object of unquenchable desire. Through his use of metaphor, López Velarde manages to marry flesh and spirit, sin and sainthood, in such an atrocious manner that an altar becomes a connubial bed and communion can be understood to stand for sexual intercourse. It is clear that his Catholicism is inextricably connected with his poetry, his views on aesthetics, and his general outlook on life. Several examples, both in prose and verse, are discussed in order to better appreciate the figurative language used by the poet and the contrast between opposites: sin and sanctity, love and religion, urban decay and provincial sacredness. The article also focuses on his unrelenting idolatry of the feminine, as a way to reconcile the many discordant voices that form his own poetic being.

This essay considers the biographies of Claribel Alegría, Jorge Debravo, and Ernesto Carden to contextualize important facets of their diverse approaches to poesia comprometida in literary, cultural, and sociopolitical history. At the same time, its extracts certain poems that demonstrate the main literary devices and themes used to create them. It is theoretically framed by important scholarly criticisms and analyses done on each poet and some of the fictional work that the poets themselves have written regarding the social and political functions of their poetry.

Caliope 19.2 (2014): 51-70

A la orilla de un marqués sentado estaba un poeta; que andan con reyes y condes los que andaban con ovejas.

Hispania, 2020

This eclectic and insightful book is, in its essence, a collection of reflections of a life lived in and in-between languages, cultures, and words. The twenty chapters of Hallazgo y traducción de poesía chilena are comprised of articles, essays, book reviews, journal entries, introductions to translations, and interviews by and about poet/critic/translator Dave Oliphant (Fort Worth, Texas, 1939-). The book's diverse form matches its content, which centers on twentieth century Chilean poetry, specifically, the antipoetry of Nicanor Parra and the poetics of Enrique Lihn, while also dedicating pieces to lesser known poets such as the Chilean Romantic Guillermo Blest

Liverpool University Press eBooks, 2012

C hapter appeared in Hispanic Review (1999) under the title "The Avant-Garde and its Discontents: Aesthetic Conservatism in Recent Spanish Poetry." I am grateful to Ignacio-Javier López for this accepting this article, and to Guillermo Carnero for circulating it among writers in Spain. Chapter 2 was published in Contemporary Spanish Poetry: The Word and the World, edited by Cecile West-Settle and Sylvia Sherno. Chapter 3 appeared in Journal of Spanish Cultural Studies. Elena Delgado, Jo Labanyi, and an anonymous reviewer were helpful in improving this piece. Chapter 5 appeared in a special issue Diacritics edited by José María Rodríguez-García. Without the help and encouragement of José María and an anonymous reviewer for Diacritics, this chapter would have been much weaker. Claudio Rodríguez-Fer was also helpful to me in giving me background on Valente's acquaintance with Celan and Heidegger. Chapter 7 first appeared in Revista de Estudios Hispánicos. I would like to acknowledge Michael Mudrovic and Randolph Pope for accepting this article, and Akiko Tsuchiya for permission to reprint it here. Randolph also accepted other articles of mine on related topics that did not make it into this book. His generous support of my work over the years is greatly appreciated.

Studies in 20th & 21st Century Literature, 2022