Tres poemas de Vicente Huidobro.







Vicente Huidobro, poeta chileno,1893-1948.  


PAQUEBOT
            
He visto una mujer hermosa
            Sobre el mar del Norte
Todas las aguas eran su cabellera
Y en su mirada vuelta hacia las playas
Un pájaro silbaba
               Las olas truenan tan roncas
               Que mis cabellos han caído
Recostada sobre la lejanía
Su vientre y su pecho no latían
Sin embargo sus lágrimas vivían
Inclinado sobre mis días
                                      Bajo tres soles
Miraba allá lejos
El paquebot errante que cortó en dos el horizonte

De poemas árticos,1918



LAS CIUDADES

En las ciudades
Hablan
Hablan
Pero nadie dice nada

La tierra desnuda aún rueda
Y hasta las piedras gritan

Soldados vestidos de nubes azules
                                                El cielo envejece entre las manos
                                                Y la canción en la trinchera
Los trenes se alejan por sobre cuerdas paralelas
                                                Lloran en todas las estaciones
El primer muerto ha sido un poeta
Se vio escapar un pájaro de su herida

El aeroplano blanco de nieve
Gruñe entre las palomas del atardecer
Un día
 se había perdido en el humo de los cigarros
   Nublados de las usinas                          Nublados del cielo
                                      Es un espejismo
Las heridas de los aviadores sangran en todas las estrellas
Un grito de angustia
Se ahogó en medio de la bruma
Y un niño arrodillado
                                        Alza las manos
TODAS LAS MADRES DEL MUNDO LLORAN

De Halali, 1918




ARTE POÉTICA

       Que el verso sea como una llave

Que abra mil puertas.

Una hoja cae; algo pasa volando;

Cuanto miren los ojos creado sea,

Y el alma del oyente quede temblando.

       Inventa mundos nuevos y cuida tu palabra;

El adjetivo, cuando no da vida, mata.

       Estamos en el ciclo de los nervios.

El músculo cuelga,

Como recuerdo, en los museos;

Mas no por eso tenemos menos fuerza:

El vigor verdadero

Reside en la cabeza.

       Por qué cantáis la rosa, ¡oh Poetas!

Hacedla florecer en el poema ;



Sólo para nosotros

Viven todas las cosas bajo el Sol.
     El Poeta es un pequeño Dios.

De El espejo de Agua, 1916

Creditos 

Fuente: Excelente pagina web de la Universidad de Chile, sobre Vicente Huidobro. http://www.vicentehuidobro.uchile.cl/poemas_principal.htm


Nota: Plaza de las palabras. Hay traducciones porque Vicente Huidobro  escribió, a pesar de ser chileno,  una buena parte de su obra en francés. Las traducciones son del francés al español. Traducción de José Zañartu 

Descargas: Download 144 Beautiful Books of Russian Futurism: Mayakovsky, Malevich, Khlebnikov & More (1910-30) OPEN CULTURE.

Download 144 Beautiful Books of Russian Futurism: Mayakovsky, Malevich, Khlebnikov & More (1910-30)

Josh Jones en Open Culture








In the years after World War II, the CIA made use of jazz musicians, abstract expressionist painters, and experimental writers to promote avant-garde American culture as a Cold War weapon. At the time, downward cultural comparisons with Soviet art were highly credible. Many years of repressive Stalinism and what Isaiah Berlin called “the new orthodoxy” had reduced so much Russian art and literature to didactic, homogenized social realism. But in the years following the first World War and the Russian Revolution, it would not have been possible to accuse the Soviets of cultural backwardness.
The first three decades of the twentieth century produced some of the most innovative art, film, dance, drama, and poetry in Russian history, much of it under the banner of Futurism, the movement begun in Italy in 1909 by F.T. Marinetti. Like the Italian Futurists, these avant-garde Russian artists and poets were, writes Poets.org, “preoccupied with urban imagery, eccentric words, neologisms, and experimental rhymes.” One of the movement’s most inventive members, Velimir Khlebnikov, wrote poetry that ranged from “dense and private neologisms to exotic verseforms written in palindromes.” Most of his poetry “was too impenetrable to reach a popular audience,” and his work included not only experiments with language on the page, but also avant-garde industrial sound recording.

Khlebnikov’s experiments in linguistic sound and form became known as “Zaum,” a word that can be translated as “transreason,” or “beyond sense.” He pioneered his techniques with another major Futurist poet, Aleksei Kruchenykh, who may have been, writes Monoskop, “the most radical poet of Russian Futurism.” The most famous name to emerge from the movement, Vladimir Mayakovsky, embodied Futurism’s confident individualism, his poetics “a mixture of extravagant exaggerations and self-centered and arduous imagery.” Mayakovsky made a name for himself as an actor, painter, poet, filmmaker, and playwright. Even Stalin, who would soon preside over the suppression of the Russian avant-garde, called Mayakovsky after his death in 1930 “the best and most talented poet of the Soviet epoch.”
Monoskop points us toward a sizable online archive of 144 digitally scanned Futurist publications, including major works by Khlebnikov, Kruchenykh, Mayakovsky, and other Futurist poets, writers, and artists. There’s even a critical essay by the imposing Russian painter and founder of the austere school of Suprematism, Kazimir Malevich. All of the texts are in Russian, as is the site that hosts them—the State Public Historical Library of Russia—though if you load it in Google Chrome, you can translate the titles and the accompanying bibliographic information.
You can also download full pages in high-resolution. Many of the texts include strong visual elements, such as the cover at the top from a multi-author collection titledRadio, featuring Mayakovsky, whose own books include photo montages like the two further up. Just above, see the cover of Khlebnikov and Kruchenykh’s Vintage Love, which includes many more such sketches. And below, the cover of a 1926 book by Kruchenykh called On the Fight Against Hooliganism in Literature.

Although “state control was absolute throughout” Soviet history, these artists flourished before Trotsky’s fall in 1928, wrote Isaiah Berlin in his 1945 profile of Russian art; there was “a vast ferment in Soviet thought, which during those early years was genuinely animated by the spirit of revolt against, and challenge to, the arts of the West.” The Party came to view this period as “the last desperate struggle of capitalism” and the Futurists would soon be overthrown, “by the strong, young, materialist, earthbound, proletarian culture”—a culture imposed from above in the mid-30s by the Writers’ Union and the Central Committee.
Thus began the regrettable persecutions and purges of artists and dissidents of all kinds, and the movement toward the Stalinist personality cult and “collective work on Soviet themes by squads of proletarian writers.” But during the first quarter of the century, “a time of storm and stress,” Russian literature and art, Berlin adjudged, “attained its greatest height since its classical age of Pushkin, Lermontov, and Gogol.”
via Monoskop
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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness


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