Communists

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April 10, 2026

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April 10, 2026

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"Mengistu had built a confinement ward almost to rival Pol Pot’s in the lunatic asylum of communist politics. Far from being controllable, he had used Soviet and Cuban assistance more or less as he liked. The same was true in Afghanistan. Two communist groups, Khalq and Parcham, had existed since the mid-1960s. These were bitter rivals but formed themselve into a united People’s Democratic Party of Afghanistan and campaigned against President Mohammed Daoud and his slow pace of reform. Modernity seemed to be postponed for decades. In April 1978 the Khalq carried out a successful coup against the Daoud government and Khalq leaders Hafizullah Amin and Nur Mohammed Taraki seized power. This came as a surprise to the Kremlin, which had been supporting Daoud. Parcham warned Moscow of the dangers of Khalq extremism. Amin pressed on with executions of the regime’s open enemies. Civil war broke out. Islamist rebellions of the various ethnic groups sprang up everywhere. Amin sought to win support by announcing a campaign for universal literacy and land reform. But little was achievable in an environment of unending violence and social insecurity. Amin had Taraki murdered in October 1979; he was also showing signs of wanting a rapprochement with Washington. It was in this situation of political disintegration and intensifying carnage that the Soviet leadership took its fateful decision to intervene militarily in December."

- Hafizullah Amin

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"The poet that fully realizes the creative potential of conflict is César Vallejo. Poor, illegitimate, and shamed since childhood for his mestizo origin, he wrote from his experience as Garcilaso had done four hundred years before. But his orientation was radically different. Vallejo searched for unity, the connectedness of all peoples: "Oh exalted unity! Oh that which is one/for all!/Love against space and time!" and he found it in sound, in the intonation of his mother's voice. She held to the indigenous music while speaking Spanish. In "Trilce XXIII" the poet speaks of his mother, then he speaks to her. By the end we hear her voice as his when he says, "dí, mamá"...Poe, Mallarmé, and Baudelaire had already disrupted poetic diction by incorporating silence and the dark side of the soul. José María Eguren understood it as a philosophical and formal lesson. But Vallejo added two more elements: the Andean aesthetics of dissonance, which had been invisible in writing until then, and the ethical dimension of compassion. This was a monumental achievement. In a single poetic line, his verbs and nouns fight each other as people do in Andean ritual festivals, where dissonance operates through a clash perceived as unity (solidarity). In these festivals, dissonant sounds are experienced as "a single heartbeat"....Today, despite the onslaught of globalization, mestizo poetry continues to thrive. José Lezama Lima wrote that "a secret pulsation of the invisible moves towards the image, and the image desires to know and be known." The reciprocal exchange within the image is thus transformed into a new understanding of life force. A few decades before, Vallejo wrote that artists engender revolutions by creating "a cosmic hunger for human justice." The poet's work is to give shape to "the new chords that will produce those tones." Placing poetry in the vibratory field where perception participates in the co-creation of the world, Vallejo reclaims poetry's full potential, echoing the early vision of Huidobro: "Poetry is the life of life.""

- César Vallejo

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