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A Spanish journey

A Spanish journey . Kristin Black. Table of Contents . Introduction 5-7 BLANCA ANDREU 8 Amor m í o , amor m í o , mira mi boca de vitriolo 9 My love, my love, my mouth look vitriol (translated) 10 Dos 11

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A Spanish journey

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  1. A Spanish journey Kristin Black

  2. Table of Contents • Introduction 5-7 • BLANCA ANDREU 8 • Amor mío, amormío, mira mi boca de vitriolo 9 • My love, my love, my mouth look vitriol (translated) 10 • Dos 11 • Two (translated) 12 • CHANTAL MAILLARD 13 • Anduvepor el dorso de tumano, confiada… 14 • I was in the back of your hand, trustful… (translated) 15 • Axis mundi 16 • Axis mundi (translated) 17

  3. Table of Contents • LEOPOLDO MARíA PANERO 18 • Haiku 19 • Haiku (translated) 20 • La oración 21 • Prayer (translated) 22 • ANA ROSSETTI 23 • Yesterday 24 • Yesterday (translated) 25 • Sálvame 26 • Save me (translated) 27

  4. Table of Contents • LUISA CASTRO 28 • Inocencia 29 • Innocence (translated) 30 • Sobreti, sobretodo. Sobre lo queeslocura… 31 • About you, above all. On what is madness… 32 • Works Cited 33-34 * Translations done by Microsoft Translate

  5. a spanish journey: through the words of a poet “Surrounded on three and one-half sides by water and connected to France by a relatively narrow strip of mountainous land, Spain has historically been isolated and inaccessible.” (Chandler) That being said, it goes hand in hand with where Spanish Literature began. The isolation gave hope for a wild imagination in the world of Literature. “The Spanish genius is largely undisciplined, impetuous, uncalculating, and given to quick improvising and verbosity. It often scatters its energies over many pieces rather than concentrating heavily on one. This inclination to improvise rather than refine and polish may have reduced the number of the Spanish masterpieces , but it has freed the Spanish writer for astonishing flights and great outburst of passion and exuberance. Improvisation doe not necessarily mean carelessness, and one is often amazed that so much good work can come from the pen of a single author.” (9 Chandler) .

  6. Spain, an isolated country with a passion for life, began it’s quest to introduce extraordinary Spanish literature long ago, that dates back to the Medieval ages. “Historically and culturally” (1 Chandler) the center of what is considered Spanish lays Castile, the first official language of Spain. However, today, Spanish is considered the official language of Spain. The different eras include Early Middle Ages, Later Middle Ages, After 1492, The Golden Century, Romanticism, 1889-1926, 1927-1936, 1939-1975, 1975-present. • Several award winning poets from the “1975-present” era include those of: Blanca Andreu, Chantal Maillard, Leopoldo Maria Panero, Ana Rossetti and Luisa Castro. These select few, share similar characteristics and a great passion for literature. For example: Blanca Andreu has been shown to use “dreamlike imagery”, “fragmented syntax”, and a “highly challenging use of language.” (Sherno) Sylvia Sherno mentions “Whether Andreu is defending language as inherently possessed f meaning, of lamenting language’s incapacity to convey meaning, all of her work is unified by a desire for truth and spiritual illumination.” (Sherno) Maillard, Panero, Rossetti and Castro genuinely share the visual imagery demonstrated above.

  7. Characteristics of Spanish Literature include Democracy, Stoicism, humor, dignity and honor. Spanish literature could be portrayed in a democratic nature, since it relates the folk legends and drama. Stoicism has been around for quite some time. “The Spaniard maintains a stoic attitude towards life’s joys and adversities and faces death serenely.” (10 Chandler) Humor is a large part of the Spanish lifestyle. Lastly, dignity and honor weigh heavy to a Spaniard and at times can be exaggerated to help one feel appreciated. In modern times, Spanish literature seems to carry most of the same characteristics as traditionally mentioned. “The virility, sobriety, generosity, dignity, honor, adventure, romance, nobility, hospitality, independence, faith and all the other qualities that together represent the genuine Spanish spirit that are found in Spain’s epic poetry in pure form.” (28 Chandler) The beginning of the 20th century is when Modernism was established. This new form of literature overtook Realism. Modernism, appeared in the Hispanic culture towards the end of the 19th century and has carried on. Poetry today shares similar characteristics with those from many years ago. The symbolic gestures, erotic tendencies, and extreme detail show that even though Spaniards are tucked away in a secluded country, their imagination runs wild.

  8. Blanca andreu Blanca Andreu was born in 1959 in La Coruna, Spain. Andreu, a spanish poet, grew up in Orihuela, where her family still resides today. Andreu went to El Colegio de Jesus-Maria de San Agustin. Andreu moved to Madrid at the age of 20. She married a novelist named Juan Benet in 1985. After her husbands death, Andreu relocated back to La Coruna. Andreu won several awards that include: PremioAdonais de Poesia and Gabriel Miro Prize Stories.

  9. Blanca andreu Amor mío, amormío, mira mi boca de vitriolo... Amor mío, amormío, mira mi boca de vitrioloy mi garganta de cicutajónica,mira la perdiz de ala rotaquecarece de casa y muerepor los desiertos de tomillo de Rimbaud,mira los árbolescomonervioscrispados del díallorandoagua de guadaña.Estoes lo queyoveo en la horalisa de abril,también en la capilla del espejoestoveo,y no puedopensar en laspalomasquehabitan la palabraAlejandríaniescribircartaspara Rilke el poeta.1980

  10. Blanca andreu My love, my love, my mouth looks vitriol ... My love, my love, my mouth looks vitriol hemlock and my throat Ionian Partridge looks broken wing that has no home and dies the deserts of thyme Rimbaud, look at the trees and frayed nerves of the day water crying scythe. This is what I see in April when smooth, in the Chapel of the mirror that I see, I can not think of the pigeons that live in the word Alexandria or write letters to the poet Rilke. 1980

  11. Blanca andreu Dos Y casi espíritu de fuego, casi la empuñadura de una idea del fuegoaire de pájaro o espada, pero espía,en tu interior hay ciervos y prodigios,acaso un charco de oro. 1984

  12. BLANCA ANDREU Two And almost spirit of fire, almost the grip of an idea of fireAir bird or sword, but spy,There are deer and wonders, in your interiorPerhaps a puddle of gold. 1984

  13. CHANTAL MAILLARD Chantal Maiillard was born in Brussels in 1951. Maillard holds a PhD in pure philosophy and teaches Philosophy at the University of Malaga. Awards given to Maillard include: Ricardo Molina Prize, Award Santa Cruz de La Palma, and National Prize of literature.

  14. CHANTAL MAILLARD Anduvepor el dorso de tumano, confiada... Anduvepor el dorso de tumano, confiada,comoquienanda en lascolinasseguro de que el vientoexiste,de que la tierraesfirme,de la repeticióneterna de lascosas.Mas de repentetembló el universo:llevaste la mano a tuslabiosy bostezandoabriste la nochecomounagrutacálida.Llevabasdiez mil siglosdespertandoy el fuegoardíaimpaciente en tuboca.1990

  15. CHANTAL MAILLARD I was in the back of your hand, trustful, as who walks in the hills sure the wind there, that the Earth is firm, the eternal repetition of things. But suddenly shook the universe: took the hand to your lips and yawning opened the night as a warm cave.  Had ten thousand centuries awakening and the fire burned impatient in your mouth.  1990 Iwas in the back of your hand, trustful…

  16. resbalo. Hay un aguaviscosatras los ojosresbalo y se me peganimágenes de un mundoapenasinsinuadoasciendo y al llegara la cúpuladescubroquesusparedeslisastransparentes, vacíastienen la texturacarnosa de mi vientre.He bajado al espírituhe subido al instinto.La mismalombriztensael ejequemantieneerguida mi cintura.El nombreque le pongaahoraserá el tuyoperosunombrees elde aquellosque he amadode aquellosqueamaréestodos y ningunoel ejequemantieneerguida mi cinturame previene de titecrea a mi medida y asume el retode ser muchosde ser tantosqueda la impresiónque no cabrá mi espírituadentro de estecuerpoque no cabráestecuerpoadentro de mi espírituporesomuero un pococadavezquetenombroy sin nombrarteapenasalcanzo a definirme.Mi vientreesquienpronuncialassílabassecretasque se inscribenarribaen la cúpula.Mi existenciaesseñalde un fuegoqueardeeternamenteen símismo. 2002 CHANTAL MAILLARD • Desciendodesciendo al cuerpo y veola lombriz de mi espíritualojada en mi vientre.Subo, subo en espiralhacia el motor del mundohuyendohuyendo del mareodel mal de ser solatan sola entre lasvíscerassubo al latidome alojoen suarritmia y descubromi rostro de lombrizadherida a lasválvulasy asciendosigoascendiendo en buscade unarazónquedierasentido a mi existenciame deslizo en la tráqueabloqueolaspalabrasasciendo Axis mundi

  17. but his name is the of those I've loved of those that I love is all and none the axis that maintains erect my waist me prevents you you create my custom and takes the challenge If many If so many that gives the impression that does not fit my spirit inside of this body that does not fit this body inside of my spirit that is why I die a little everytime you named and without naming you just I have time to define me. My stomach is who delivers secret syllables you join up in the dome. My existence is a sign of a fire it burns eternally • in its own right. • 2002 CHANTAL MAILLARD I slip into the trachea blocked words ascend I slip. There is a water viscose after eyes I slip and I stick images of a world barely hinted at I ascend and arriving the dome I discover that its smooth walls transparent, empty they have the texture fleshy my belly. I downloaded the spirit I've uploaded the instinct. The same tense worm the axis that maintains erect my waist. The name put you will now be yours I descend I descend into the body and see the worm of my spirit hosted on my belly. Climb, climb spiral towards the engine in the world fleeing fleeing from dizziness the evil of being single as one between the viscera I go to the beat I'm I in his arrhythmia and discover my face of earthworm attached to the valves and I ascend I'm still climbing in search a reason to give meaning to my life Axis mundi

  18. Leopoldomariapanero Leopoldo Maria Panero comes from a histroy of poets that include his father, LeopoldoPanero and his brother Juan luisPanero. Panero was born in Madrid in 1948 and carried a history of drugs and alcohol abuse. Panero has been considered a narrator, translator and poet.

  19. LEOPOLDO MARIA PANERO HAIKU Si no esahora ¿cuándomoriré?Si no esahoraque me he perdido en mediodel camino de mi vida, y voypreguntando a los hombres quién soy, yparaqué mi nombre, si no esahora¿cuándomoriré?Si no esahoraqueaúllan los lobos a mi puertasi no esahoraqueaúllan los lobos de la muertesi no esahoraqueestácomocaídomi nombre al pie de mí, y boquea, y preguntaa Dios porquénací: si no esahora¿cuándomoriré? 1980

  20. Leopoldomariapanero HAIKU If not now when I will die?If it is not now that I lost in the Middlethe road of my life, and I'llasking men who I am, andfor what my name, if it is not nowWhen will I die?If it is not now that howl the wolves at my doorIf it is not now that howl the Wolves of deathIf it is not now that it is as a fallenmy name at the bottom of me, and boquea, and wonderedGod was born why: if not nowWhen will I die? 1980

  21. Leopoldomariapanero LA ORACIÓN Y la Madre reprendió al niño, y dijoquéhacesque no velas el cadávery élpusosuboca en aquelfalo, ysorbió lentamente como de un alimentoporque el muertoese era el inciensoquepurificaba lossabidoshedores del teatro, suturbiaagonía de modoque al crepúsculo la madrerepetíade golpedespertando del sueñoHijomíove y miraal fondopara saber siduerme o sinospiensay no teolvidesnunca de velar el cadáver:quenosabsuelva, dile, quehemosvivido muchoy tropezamosya con los muebles, y el alma estápodrida, y hueledemasiado, demasiado: ve y mirasinospiensay el hijosorbía de aquelanoabierto. 1980

  22. Leopoldomariapanero PRAYER And the mother chastised the boy, and saidyou do not candles corpseand he put his mouth in the phallus, andsorbió slowly from foodbecause the dead that was the incensewhich purificaba theknown odor of the theatre, itsmurky agony so at twilight mother repeatedsuddenly waking from sleep my son sees and watchesto know if he sleeps or if we intend to fundand don't forget never ensure the corpse:us absuelva, tell him, that we have experienced muchWe already have the furniture and the soul isrotten, and smellstoo, too: go and see if we thinkand the son sorbía that open anus. 1980

  23. ANA ROSSETTI Ana Rossetti was born in 1950 in a town called Cadiz. She is known for one of the most “lush female vocals of Spanish Literature”. “An exuberant advocate of Eros, Rossetti gives us a poetry that is powered by a ravenous sexual energy that bodies fourth in an explicit syntax of the human anatomy” (p1 of JSTOR ) Rossetti’s poetic journey began in the 1980’s , and to later include essays, novels, and short stories. Rossetti has won numerous awards that include the Gules Award in 1980.

  24. ANA ROSSETTI Yesterday Es tan adorable introducirmeen sulecho, y que mi manoviajeradescanse, entre suspiernas, descuidada,y al desenvainar la columnatersasucimeraencarnada y jugosatendrá el sabor de lasfresas, picantepresenciar la inesperadaexpresiónde suanatomíaque no sabeusar,mostrarle el sonrosadoengarceal indecisodedo, mientras en pérfidasy precisasdosis se le administraaudacia. Es adorable pervertira un muchacho, extraerle del vientrevirginal esarugienteternuratan parecida al estertor finalde un agonizante, queesimposibleno irlomatandomientraseyacula. 1988

  25. ANA ROSSETTI Yesterday It is so adorable to introduce meon his deathbed, and that my hand travelingrest between his legs, careless,and to desenvainar the smooth columnhis heraldic toenail and juicyYou will have the spicy taste of strawberrieswitness the unexpected expressionAnatomy which do not know how to use,show the sonrosado crimpto the indecisive finger, while in eviland precise doses given boldness. It is lovely to perverta boy, extract bellyvirginal that roaring tendernessso similar to the final death rattleof a dying, that it is impossiblenot go killing while ejaculates. 1988

  26. ANA ROSSETTI Sálvame Misojos, portucuerporeclamados,de suhermosuraavisan, amplio torso devastany en la estrechacaderacontiénenseaturdidos.Sin indulgenciaalgunamuestran al labiohambriento,de cerezasmordientes, la semillay al igualquemisdedos el másardienterocede tupiel se presagia, de la amatistaintrusae irisadopezón, en mi confusalenguaavívasesutacto.Las ferocespunzadas de un turbadoraugurioprocuraapaciguar mi inasaltadovientre,peroesvano el combate del queya ha sidoherido.Y es un abismo el goce, el anhelolocura,estunombreinvocadoamargaextenuacióny tucuerpoinminenterigurosamedidade mi infierno.De esteinsaciableafándicenque has de salvarme.Pero lo ciertoesqueenfebrecidaaguardoy quepuedomorir antes de que me toques. 1988

  27. ANA ROSSETTI Save me My eyes, your body claimed,its beauty alert, wide torso devastateand in the narrow hip contiénense stunned.Without any leniency shown to the hungry lip,mordientes cherry, seedand like my fingers more hot rubbingIt foreshadows your skin of intrusive Amethystand irised nipple in my confusing languageenliven your touch.The ferocious pangs of a disturbing auguryseeks to appease my inasaltado bellybut vain combat which has already been hurt.And is an abyss the enjoyment, the desire madness,is your name invoked bitter exhaustionand your impending body rigorous measureMy hell.This insatiable desire they say that you have to save me.But the truth is that fevered I lookand that I can die before that touch me 1988

  28. LUISA ASTRO “Poet and novelist Spanish born in Foz, Lugo, in 1966.” Luisa Castros’ career at the age of seventeen, when she published definitive Odessey. Castro holds a degree in “Hispanic Philology from the UniversiddadComplutense de Madrid.” Prime Huperion award of poetry was one of the awards given to Luisa Castro in 1987.

  29. luisacastro Se acabó la inocencia.Era unabebidaempalagosa y breve,una comida exótica,ahoraya lo sé.La probé.De esascosasque se toman un díay siemprelasrecuerdas,de esagentequeteencuentrasy no vuelves a ver.Nuncasabrás lo quepasaríaen el banco de la inocencia.Con los pies colgandoallísólo vive la genteque no recuerdas,lo quenunca ha pasado.Te sentaste un momentoa escuchardesdelejos la orquesta.Era duro y solitarioel banco de la inocencia.Demasiadaprisa en volvercomopara no olvidartealgo.Ahoraya lo sabes,la inocenciaesesagenteque se quedótuchaqueta. Inocencia 1997

  30. luisacastro Ended the innocence.It was a cloying and brief, drinkan exotic food,now I know already.I tried it.Those things that take a dayand always remember them,of those people who you areand do not return to see.You never know what would happenthe Bank of innocence.With his feet hangingThere people who you do not remember, only livethat has never happened.You felt a momentto listen from a distance the Orchestra.It was hard and lonelythe Bank of innocence.Too much hurry to returnfor not forget something.Now you know,innocence is that peoplethat was your jacket. Innocence 1997

  31. luisacastro Sobreti, sobretodo. Sobre lo queeslocura Sobreti, sobretodo. Sobre lo queeslocura,sobretodo en lasmañanasnecesarias del deseo,en los tilos de un amorque se recupera de la desmesuracon un desayunotardíoy el final de unahistoria mal mecanografiada de niños de ayerqueaún no se, no sabes, si se hanmuerte, si van acomprar la libertad de supoemao sitienenquevivirparaunamadreenferma de naufragios;la historiasiempreinterrumpidapor la inminenciadel dolor o del placer oscuro de los cuerpos,la historiasiempreinterrumpida,la historiasiempre, siempre. Al finalsiempreaquellacosa del término y el cierre,la clausura,El final. 1984

  32. luisacastro About you, above all. What is madness. About you, above all. What is madness,especially in necessary mornings of desire,in the Linden trees of a love that comes out of hubriswith a late breakfastand the end of a badly typed history of yesterday's childrenthat still does not, do not know, if it be death, if they are going tobuy the freedom of his poemor if they have to livea mother suffering from shipwrecks;history always interrupted by the imminencethe pain or the dark pleasure of bodies,history always interrupted,history always, always. At the endalways the thing of the term and the closure,the closure,The end. 1984

  33. Works Cited • Andréu, Blanca. El Sueño Oscuro, Poesía Reunida, 1980-1989. 1994. Print. • "America Reads Spanish." America Reads Spanish. Amigot Corp, 2010. Web. 30 Nov 2011. <http://www.americareadsspanish.org/authors.php?id=45>. • Bioso, Neorra. "Trespoemas de last river together." Last River Together, PoesiaCompleta. nerrabioso.blogspot, 2001. Web. 30 Nov. 2011. <http://neorrabioso.blogspot.com/2010/05/70-tres-poemas-de-last-river- together.html>. • Chantal Maillard. 2010. Photograph. http://www.uimp.es/blogs/prensa/2010/09/07/chantal-maillard-lamenta-que- la-poesia-se-convierta-en-un-“producto-mercantil”-y-que-hoy-en-dia-“se-venda-todo”/Web. 30 Nov 2011. • Chandler, Richard. "History of Spanish Literature." History of Spanish Literature. Louisiana: Louisiana State University Press, 1991. Web. 30 Nov 2011. <http://books.google.com/books?hl=en&lr=&id=h79ViVeChFIC&oi=fnd&pg=PR11&dq=history of spanishpoetry&ots=VVrGNhaWF8&sig=TFZQCeYmIr6HL9DtIUqU41bsL-c • Escaja, Tina. "Ana Rossetti." Diss. Weber State University, 2006. Print. <http://departments.weber.edu/ce/conferences/AILFH/AnaBio.asp>. • "Escritores." Luisa Castro Biografia. escritores, 2011. Web. 30 Nov 2011. <http://www.escritores.org/index.php/biografias/4589-castro-luisa>. Gilmore, Sara. "Blanca Andreu." The Iowa Review. University of Iowa, 2011. Web. 27 Nov 2011. <http://iowareview.uiowa.edu/page/andreu>.

  34. LeopoldoPanero. 2011. Photograph. http://es.paperblog.com/dossier/poeta/leopoldo-maria-panero/Web. 30 Nov 2011. <http://es.paperblog.com/dossier/poeta/leopoldo-maria-panero/>. • Maillard, Chantal. "Centre de CulturaContemporania de Barcelona." CCCB. CCCB, 2008. Web. 30 Nov 2011. <http://www.cccb.org/en/autor-chantal_maillard-18589>. • Ocana, Nava. "The dark dream: Blanca Andreu's poetry and criticism." Corner. 2. (1999): 2. Web. 30 Nov. 2011. • Press, Pennsylvania. "Ana Rossetti's double-voiced discourse of desire." RevistHispanciaModerna. 45.2 (1992): n. page. Web. 30 Nov. 2011. <http://www.jstor.org/pss/30203350>. • Panero, Leopoldo. Last River Together. Madrid: Editorial Ayuso, 1980. 54. Web. <http://catalogue.nla.gov.au/Record/2021424>. • "Spanish literature." Encyclopædia Britannica. Encyclopædia Britannica Online. Encyclopædia Britannica Inc., 2011. Web. 30 Nov. 2011. <http://www.britannica.com/EBchecked/topic/558133/Spanish-literature>. • Spanish Painters. N.d. Painting. http://www.merello.com/english.merello.-spanish-painters- contemporary-art-painting.htmWeb. 30 Nov 2011. • Sherno, Sylvia. "Blanca Andreu: Recovering the lost language." JSTOR. 77.3 (1994): 384. Web. 30 Nov. 2011. <http://www.jstor.org/pss/344936>. unknown, . "A media voz." A media voz. N.p., n. d. Web. 30 Nov. 2011. <http://amediavoz.com/>.

  35. Unknown, . “Luisa Castro." A media voz. N.p., n. d. Web. 30 Nov. 2011. <http://amediavoz.com/castroluisa.htm>. Unknown, . “Ana Rossetti." A media voz. N.p., n. d. Web. 30 Nov. 2011. <http://amediavoz.com/rossetti.htm>. Unknown, . "Blanca Andreu." A media voz. N.p., n. d. Web. 30 Nov. 2011. <http://amediavoz.com/andreu.htm>. Unknown, . "Chantal Maillard." A media voz. N.p., n. d. Web. 30 Nov. 2011. <http://amediavoz.com/maillard.htm>.

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