By Jaime Saenz
Immanent customer is the 1st English-language translation of the paintings of Bolivia's maximum and such a lot visionary twentieth-century poet. A po?te maudit, Jaime Saenz rejected the conventions of well mannered society and have become a monk in carrier of his personal mind's eye. Apocalyptic and occult in his politics, a denizen of slum taverns, unashamedly bisexual, insistently nocturnal in his inventive affairs, and secretive in his management of a choose crew of writers, Saenz combined the magical and baroque with the glorious, the mental, and the symbolic. In masterly translations by way of poet-translators, Kent Johnson and Forrest Gander, Saenz's unusual, leading edge, and wildly lyrical poems display a literary legacy of fierce compassion and unity with indigenous Bolivian cultures and with the destitute, the determined, and the disenfranchised of that unreal urban, los angeles Paz. In lengthy traces, in odes that identify hope, with Whitmanesque anaphora, in exclamations and repetitions, Saenz addresses the reader, the liked, and loss of life in a single prolonged lyrical gesture. The poems are overtly affecting. Their semantic innovation is striking within the abnormal heterogeneity of formal and tonal buildings that careen unabashedly among modes and moods; now archly lyrical, now arcanely symbolic, now colloquial, now trancelike. As Saenz's popularity keeps to develop during the international, those encouraged translations and the accompanying Spanish texts faithfully exhibit the poet's precise imaginative and prescient and voice to English-speaking readers. eight b/w images, 2 line drawings
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Extra resources for Immanent Visitor: Selected Poems of Jaime Saenz, A Bilingual Edition
You are not to forget it. They walk straining their being, they walk as if another walked in them, they walk on, terrifying, full of themselves, puffed up, fervent. They walk like no one walks. They keep walking, even lying down at someone’s side. They walk awake and asleep, they walk backward, they walk out of step, visited by rare dispensations. ” (With the magnet on their backs, they know and don’t know where they walk. But they are led to the vexed, formidable core of smiles forgotten in the coursing river, in the echo rising—I don’t know how—from the piano and the cello, in the zenith of a cold and bewildering evening.
Living is hard; it’s hard work not to say a word. Putting up with people without saying a word is tough. It’s very hard—inasmuch as they expect to be understood without saying a word— to understand people without saying a word. It’s terribly difficult yet very easy to be a decent person; the truly difficult thing is not to say a word. V The hatred which the father who is son professes to the son who is father is father of the hatred which the son who is father professes to the father who is son.
Sublime catastrophe. Here in the night’s heart, I have paid homage to the mysterious epileptic, just so, and with the meekness of a lake. 30 Poems in Translation I offer my homage. Soundlessly, catastrophe comes. The needles point to the sky. It will always be this way. The eyes turn yellow and make a lattice over the other things that are not. The life that is real is about to arrive. ” The paraphrase of what she had said is a reflection of Wiesbaden. Rainy and fleeting as she is, luminous as she is, and with that quick gift she has for disappearing into the throng, having passed within five centimeters of me, without even knowing me, or as if we had met on the shore of some immense ocean with wooly floor, with fish blazing across its surface, their backs puffed out, their spines rigid and splayed.