Poets From Chile

"Here’s a very short list of Latin women novelists I think should have been considered part of the Boom…Mexico: Elena Garro, Rosario Castellanos. Costa Rica: Carmen Naranjo. Brazil: Clarice Lispector. Uruguay: Armonía Somers. Chile: María Luisa Bombal. Argentina: Silvina Ocampo, Nora Lange, Elvira Orphée..."

"I wish to inform the reader that even though this is a mystery, it is a mystery without murder. He will not find here any corpse, any detective; he will not even find a murder trial, for the simple reason that there will be no murderer. There will be no murderer and no murder, yet there will be....crime. And there will be fear. Those for whom fear has an attraction; those who are interested in the mysterious life people live in their dreams during sleep; those who believe that the dead are not really dead; those who are afraid of the fog and of their own hearts... they will perhaps enjoy going back to the early days of this century and entering into the strange house of mist that a young woman, very much like all other women, built for herself at the southern end of South America."

"As night was beginning to fall, slowly her eyes opened. Oh, a little, just a little. It was as if, hidden behind her long lashes, she was trying to see. And in the glow of the tall candles, those who were keeping watch leaned forward to observe the clarity and transparency in that narrow fringe of pupil death had failed to dim. With wonder and reverence, they leaned forward, unaware that she could see them. For she was seeing, she was feeling."

"Today, in Santiago, Chile, or Buenos Aires, in Caracas or Lima, when they name the best names, María Luisa Bombal is never missing from the list. This fact is even more notable when one considers the brevity of her work-which does not correspond to any determined "school" and which fortunately is devoid of any regionalism."

"For the majority of readers, Latin American fantastic literature operates under the tutelage of the great masters: Jorge Luis Borges, Adolfo Bioy Casares, Julio Cortázar and Gabriel García Márquez. However, although few are acquainted with their works, many women began experimenting with this genre well before their male counterparts and were the true precursors of the form, though their names remained on the shelves of oblivion, without the recognition that they deserved. María Luisa Bombal, for example, wrote the fantastic nouvelle, House of Mist (1937) before the famous Ficciones (1944) of Borges..."

"Day by day, proud human beings that we are, we have a tendency to renounce our elemental roots, which accounts for the fact that women no longer appreciate their braids. Being rationalists nowadays, women in cutting off their braids ignore that in effect they are severing their ties with those magic currents which issue from the very heart of the earth. Because a woman's hair springs from the most profound and mysterious source, whence is born the first trembling seed of life-evolving therefrom to struggle and grow among many entangling forces, thrusting through the vegetal surface into the air and on upwards to the privileged forehead of its choice."

"I am privy to much that is unknown. Of sea and earth and sky I know an infinity of small and magic secrets. This time, however, I will tell only about the sea."

"The story I am about to tell is the story of my life. It begins where other stories usually end; I mean, it begins with a wedding, a really strange wedding, my own. (beginning of chapter one)"

"From the start, my work has been an interaction between art and poetry."

"words are the inner star."

"Western education is about teaching that knowledge belongs to an elite. Therefore, you either join through a difficult long struggle or you are devoid of any value. So that is the teaching of this culture, there’s something ingrained in the system and worldview, which we know not to be true. I have done many educational projects with Indigenous peoples and that is one of my principles: that you don’t teach what people ‘ought to know’. On the contrary, you let them discover their own wisdom, they’re own insight, they’re own realisations – those which are infinite once they relax into seeing their own self, their own being. It’s a human thing, everybody has this power and this gift. It’s not something special."

"Chilean Cecilia Vicuña is obsessed with constructing a new way of writing poetry, of uniting fragments and objects through conjunctions and through the elaboration of well-arranged, pre-fabricated words. Her poetry, which reflects a gaze filled with beauty and seduction, implies a new configuration, as well as the constant knowledge that language is the legacy of women."

"Even in the ’60s, the ecological disasters had begun, and I think by focusing on dissolution and regeneration of the lifeforce, I was instinctively responding to that pain, the pain of the ocean, the pain of the sand. I walked on this beach as a kid and the sole of my feet would get black from oil, everything was already blackened. That was 50 years ago. We have lived with this denial and destruction for 50 years, and when you think of the damage that those 50 years have done, if there’s a future for humanity, those 50 years are going to be known as one of the most criminal."

"If you think that you don’t know, you don’t know. But if you think that you may know, if you think that it’s perfectly possible that you have a knowing, then you can find it. So it’s a matter of opening. It’s a matter of releasing the structures that have been imposed upon you, realising that every form of education is an imposition that’s coming from outside your being. I think the liberating force of art and poetry is that it releases you from that, and it puts you in the place of discovering, of exploring, of acknowledging that you have senses, that you have awareness, that you perceive and are paying attention to the precise form of those perceptions. That’s the joy of the poet, the joy of the artist, to focus completely, zero in on those perceptions and see the universe expanding out of ‘a grain of sand’, as William Blake said. Everything has infinite possibilities of knowledge and that’s what it means to be human. We have been brought up to believe that the machine knows better than we do. Everybody believes that now. That’s preposterous! Machines only know how to do operations, they can’t imagine, they can’t imagine the unimagined, they can’t travel like we can to the end of the galaxies just by thinking about it. So, why are we so willing to renounce our agency as creators? That is what is troubling."

"Some of the greatest Latin American poets have been women. Sor Juana Inés de la Cruz, Gabriela Mistral, María Sabina, and Violeta Parra are among them, but their true place in the history of poetry has yet to be fully acknowledged...At the turn of the century, a legendary group of women poets emerged, including Delmira Agustini, Alfonsina Storni, and Gabriela Mistral. Their work caused scandal and outrage but ultimately opened the way for other women to explore their experience in a woman's voice...Mistral was the paradoxical mestiza, who embodied contradiction. A childless woman who exalted maternity, she simultaneously embraced and scorned her indianidad. Her extraordinary mix of biblical and Amerindian rhythms got her the Nobel Prize in 1945."

"Just a few years ago, one could easily identify the women in all of Latin America who stood out in literature. Names like Gabriela Mistral, Alfonsina Storni, Juana de Ibarború, Delmira Agustini, Claudia Lars, not to mention the greatest of them all, Sor Juana Inés de la Cruz..."

"Plant your will!"

"Our understanding of time is so limited. We have very basic markers of time. We live and we die, but what else? In my opinion, a poem is created outside of time entirely. A quipu, on the other hand, is like traveling through time. We all experience this ability to travel back and forth in time in our souls, in our imaginations, and in our hearts. Mathematicians and physicists attempt to create these fantastic theories and equations, but I have been making art about this all along. I think that poetry has given me this gift of knowing. Not every poet has this. I think it is reserved to certain cultures, perhaps. One must open themselves to these other forms of knowing, but Western cultures have suppressed this. I call it a colonization of the mind."

"One of the few Latin American intellectuals who stood up against fascism and spoke about the impending fate of European Jews was Gabriela Mistral, who, in 1945, became the only Latin American woman to date to win the Nobel Prize in Literature. While not a Jew herself, we include here one of her essays, "Message about the Jews,"-which she wrote in 1934, shortly before assuming her post as consul to Chile in Portugal-because it is a poignant testimony to her commitment to human rights and the Jewish people throughout historical times of great suffering when countless other prominent intellectuals chose silence. Mistral was also influential in assisting with Jewish emigration to Chile when, after 1939, most Latin American nations had closed their borders to desperate Jewish refugees seeking asylum."

"The official image of Gabriela Mistral violates all cultural stereotypes since her poems to mothers, women and children are filled with a deep ideological content that goes beyond that of a teacher preoccupied with the future of her pupils. In the poems by Mistral included in this anthology, we get a glimpse of her powerful imagination and figurative language based on minute elements. Her poetry is often stripped of the traditional metaphors associated with the poetic language employed by the women of her time. Mistral's voice, depicted in melodious lullabies and fantastic stories"

"Mistral’s poetry is resolutely hermetic and often has a nightmarish quality. Even her nominally straightforward verses — those having to do with elements of nationalism, such as national symbology or national landscapes — contain a surreal quality...Mistral surrounded herself with and was surrounded by metaphors of silence, shame, and secrecy. Much of her poetic oeuvre revolves around a private world difficult to decipher, a world of loss and despair, of fantasy escapes into other realities."

"Poets—incredible nature poets like Mary Oliver, Gabriela Mistral, or Audre Lorde—look deeply at the world and make us feel like we are connected. Poetry that addresses the natural world helps us repair that connection. When you are paying attention to something, it’s a way of loving something. How can we continue to hurt something that we love?"

"If you think about human beings, [laughter] people have been people for almost a million years, and what we understand as art and art history is only a fleeting moment in that story."

"Only by becoming collectively aware of the pain we inflict on each other is there a chance for change, for a new moral code to prevent it. We need to archive not just art and literary works – often the record of the unacknowledged behaviour we have witnessed, or felt within – but also its effects on others. The social context makes change possible."

"(Would you say that your practice seeks to confront that ancestral trauma?) CV: I don’t think my work confronts it as much as faces it. In other words, it is my point of departure. I don’t think it’s something that can even be confronted because it has already happened. You have to allow for your being, your soul, your spirit, and your body to feel that and become fully aware of its importance. We now live in a culture that denies pain and denies trauma, and therefore if you deny that, not only are you bound to repeat it, but you’re bound to live in a world of lies. I think it’s very dangerous not to acknowledge such things. I think it is probably our first task. Otherwise I don’t think there’s going to be any more humanity."

"Some of the greatest Latin American poets have been women. Sor Juana Inés de la Cruz, Gabriela Mistral, María Sabina, and Violeta Parra are among them, but their true place in the history of poetry has yet to be fully acknowledged."

"It would be foolish for our America to latch onto the filthy tail of this antisemitic campaign. We have enough to do in our own nations-where everything is still in a state of primordial chemical soup-without distracting ourselves with French antics or absurd ventures in Berlin."

"We have scholarship and scientific proof that climate change exists, so what is it going to take for people to understand and participate?"

"Every living thing is nature. I mean, why are we on this suicidal move, and why is it that people refuse to see what we are doing to the environment even though we all feel it? That is the real question for our times. Why are we indifferent to our own death?"

"The position of poetry in oral cultures is of tremendous power and reach. In fact, the oral poets say this plainly: the reach of an oral poem is infinite because it can be sensed, it can be heard, it can be told, it’s alive and moving and changing."

"Piececitos de niño, Dos joyitas sufrientes, ¡Cómo pasan sin veros Las gentes!"

"The German, Polish, or Lithuanian Jew has been deprived of the sacred right to escape and be free."

"words are the loom of the stars life's breath"

"I began to define my work as “about to happen” in the 1970s. This is my view of how art exists: art is not what you think it is, but art is what is about to happen. It’s consciousness and awareness."

"Ya en la mitad de mis días espigo esta verdad con frescura de flor: la vida es oro y dulzura de trigo, es breve el odio e inmenso el amor."

"(What did ecofeminism mean to you in the 1970s and what does it mean for you, today in 2020?) CV: First of all, I never heard of the term ecofeminism in the ’70s, no one was using that term. [Laughter] I don’t know if anyone used the term to classify their art. I was thinking about it–I was doing it in the ’60s–I was working through what I was seeing and feeling while living in Chile, you know and being near the South Pacific Ocean. I was doing and making what people now call land art long before that language existed as a name or concept, and I’m not the only one either who was shaping the movement without using any terminology to define it."

"For me, I think my inspiration is the attitude and the feeling that you are here to sense, feel, shift, relate, and dance with art."

"My own indigenous history was erased—my mother and grandmothers were made to feel shame about their DNA. With my poems and performances, the quipu and the spirit of those ancient cultures are activated again."

"At the very least we should not continue, in the manner of the Pharisees, using the ancient proclamation against the Jew who has been thoroughly undermined by us. Moreover, we should, at a minimum, desist from exclaiming in plazas or in our homes the rebuke that was heard in the Middle Ages: "Hunt? the Jewish dog for being an infidel." Jesus Christ, in his infinite nature, would surely be infinitely disgusted upon hearing us utter such words as his supposed advocates and the sentinels of his doctrine."

"Let's not ask our countries to accept a massive number of desolate Jewish immigrants. But let's do ask that they-with little rational effort, which is to say, with basic humanity-accept a small-agreed-upon quota of Jews who Europe has spewed from its twisted Christian viscera. Argentina has established-and I believe quite comfortably-its portion of the quota. If our twenty countries can follow through on this great act, which can only be termed an authentic act of decency, we will have accomplished an effective, honest, and generous feat. One should weigh and measure such adjectives carefully as they are very important to those who safeguard the continent's honor. By way of this act, we will have returned to Europe some of the culture and Christian policies that it originally imparted to us. In its stance toward the East, Europe has marred and debased its bimillenary rule. Let us cast back to Europe, from our side of the world, a collective gesture of an integral and inclusive Christian right that we learned from that continent during its purer era and that we have strengthened rather than squandered."

"I think I am a bit like Mistral: always a foreigner, always from somewhere else."

"Chilean Gabriela Mistral who has been canonized as the Saint Mother…Mistral was an advocate for human rights and the plight of the Indian long before those concerns became fashionable."

"This was the kind of woman she was: attentive to the present, dominated by the conscience of her deeds and of the course that history takes, incapable of refusing the claims of those who suffer from hunger or thirst for justice and love...If we read her work carefully, we will find embodied there the same concepts and attitudes, and it would almost be impossible to distinguish between art and life or to say if there is more authentic poetry in her verses that in her acts...Everything she did, said, and wrote was in some way saturated with that poetic air, revealing the marvelous, if somewhat delicate balance between the ‘is’ and the ‘should be.'"

"The other event was reading Gabriela Mistral. She had been awarded the Nobel Prize for Literature in 1959 and her books were part of the library's small Latin American collection. Up to then I had not read any work at all which railed against women being forced to take on the "shame" of reproduction, pregnancy, sexuality. I read these poems with immense relief. Finding that you are not alone in anger at "immutable" laws inscribed by an overarching patriarchy assuages anxiety to a degree that's hard to describe."

"Gabriela Mistral of Chile, the only Latin American woman to have won the Nobel Prize, was an educator, pacifist, and humanist who wrote with matchless intensity of frustrated and suffering womanhood. Her children's songs and lullabies are among the tenderest in the Spanish language. Without children of her own, she turned her love of children into a universal love for all humanity. She became a kind of world mother, singing about children "as no one before her had ever done," said Paul Valéry. "While so many poets have exalted, celebrated, cursed or invoked death, or built, deepened, divinized the passion of love, few seem to have meditated on that transcendental act par excellence, the production of the living being by the living being."

"I translated Mistral because I discovered that she really has not been brought into English very much, Neruda over and over and over, but not Mistral. I fell in love with her. You have to fall in love, I think, to do a long translation. Yes, and then it's fun."

"I can climb to the top story of the highest poem and throw myself into the vacuum of a life."

"We are born old how life descends and one gets younger."

"Life itself returns over destruction, putting out death. (1963)"

"If you don't like this world we'll change it with kisses"