Abstract
This chapter studies two digital literary works by the Argentine-Spanish author Belén Gache, Góngora Word Toys and Radikal Karaoke, both from 2011. Regarding Góngora Word Toys, the chapter firstly demonstrates how the pieces within this collection engage with a particular element of the work of the Spanish Golden Age poet Góngora, and reworks his poem Soledades in a variety of ways, through remixings, visualisations, animations, and interactions with the reader-user. The chapter subsequently moves on to an analysis of Radikal Karaoke, and elucidates how this poetry collection works via the recycling of platitudes and commonplaces that characterise corporate branding, trademark symbols, slogans, and rhetorical phrases, and encourages us to reflect upon our imbrication not only in the work, but also in the system of global corporatism.
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Notes
- 1.
Several of the short pieces included in El libro del fin del mundo subsequently reappear as interactive pieces in her online collection, Word Toys (2006b).
- 2.
The titles of these works in the original Spanish are Luna india, Divina anarquía, Lunas eléctricas para las noches sin luna, El libro del fin del mundo, Cuaderno de historia universal, Diario del niño burbuja and El blog de los sueños.
- 3.
The title in the original Spanish is Manifiestos Robot.
- 4.
See, for instance, her 2006 volume, Escrituras nómades, in which she undertakes a detailed survey of experimental literary forms from the renaissance to contemporary digital literature; her 2006 article ‘La poética visual’ (2006c), which sets out visual poetry in its historical context, making particular reference to the avant-garde of the early twentieth century; and her chapter in Romano (2008), entitled ‘De poemas no humanos y cabezas parlantes’, which discusses the development of IP poetry within the context of poetic traditions, identifying a variety of precursors, including the automatons with which Descartes and his contemporaries were so fascinated.
- 5.
In the original Spanish this reads: ‘Si bien los dispositivos electrónicos de escritura permiten alcanzar dimensiones antes no previstas en estrategias escriturales, tales como la no linealidad de las tramas, la interactividad o la posibilidad de abordar la unión entre diferentes sistemas semióticos (lingüístico, visual y fónico), este tipo de experiencias no son nuevas en el campo literario. Desde los Carmina Figurata hasta los poemas dadá, desde el Tristam Shandy de Lawrence Sterne hasta los viajes africanos de Raymond Roussel, desde el Coup de dés de Mallarmé hasta el Nouveau Roman, desde la verbivocovisualidad joyciana hasta el concretismo, desde los lenguajes inventados por Velemir Khlebnikov hasta los event scores de Fluxus, se han buscado formas de decir y de narrar que escapen de los modelos canónicos y automatismos lingüísticos’.
- 6.
It is worth noting that Góngora’s Solitudes is, in itself, a work which abounds with rich intertextual references. As Rodrigo Cacho Casal notes, in the Solitudes, Góngora ‘imitate[d] classical, Italian, and Spanish authors , borrowing from their images, topics and leitmotifs’ (Cacho Casal 2007, p. 435), and he identifies Iacopo Sannazaro’s Arcadia of 1504 as a particularly important intertext (which, in its turn, was conceived of as ‘a learned combination of different sources’) (Cacho Casal 2007, p. 436).
- 7.
In the original Spanish this reads: ‘en el período barroco, el equilibrado mundo clásico deja lugar a un mundo inestable, descentrado, escondido tras el abigarramiento de los signos’ (Gache 2011a, n.p.).
- 8.
It is worth noting how this particular aesthetic is immediately recognisable as a reference to a prior era of gaming and is imbued with nostalgia; for more on this aesthetic , see, for example, Gaughen, who analyses the current vogue for vintage video games as offering a ‘nostalgic experience of playing video games from the 1970s and 80s’ (Gaughen 2014, p. 25) and Montfort and Bogost, who argue that the Atari console is ‘a retro fetish object and a focus of nostalgia’ (Montfort and Bogost 2009, p. 6).
- 9.
In the original Spanish this reads: Sociedad lunar: Literatura expandida. It is worth noting that the moon is a central image in Gache’s other works, including her collection of short stories Indian Moon (1994), her 2004 novel Electric Moons for Moonless Nights, and the chapter ‘Vampire Women Invade Colonia del Sacremento’ in her Word Toys (2006b), amongst others.
- 10.
Huidobro’s poems, composed during the 1910s, 1920s, and 1930s, undertook a process of textual disruption and challenge to typographical norms, in which, in the words of Vásquez, ‘the linguistic and the graphic make the most of the combinatory possibilities offered by the printed page’ (Vásquez 1998–1999, p. 1224)—an analysis which gives an indication of Huidobro’s experimentation with combinatory possibilities, all the while within the confines of the printed page. Interestingly, D’Asprer traces the antecedents of Huidobro’s poemas pintados even further back, and finds traces of them in the Middle Ages and even in ancient Greece, arguing that ‘as a genre, they have remote predecessors that range from the technopaegnia of Ancient Greece, or the Carmina figurata of the Middle Ages, up to modern experiences’ (D’Asprer 2011, p. 97).
- 11.
In the original Spanish this reads: ‘el arte barroco rechaza las formas que remitían a lo inerte y lo permanente, siendo su estética multiforme y plural: en el barroco, las formas abiertas reemplazan a las cerradas, propias del clasicismo, y la elipsis y la espiral desplazan al círculo’ (Gache 2011a, n.p.).
- 12.
Duchamp’s film Anemic Cinema (1926) was an experimental film depicting animated drawings of spirals, interspersed with puns in French, also written in spiral form and animated. Nico Israel, in a book-length study on the image of the whirl in twentieth-century literature and art, notes Duchamp’s fascination with spirals in a large number of his works, including his Rotary Demispheres series, and identifies Anemic Cinema as the work which ‘most directly reveal[s] the function of spirality in Duchamp’s broader project, blending as it does aspects of Dada and Surrealism’, illustrating how this film demonstrates ‘the strategies that Duchamp employs to challenge ‘“retinality” (the way images hit the eye) with language’ (Israel 2015, pp. 115–116).
- 13.
I cite here from the published English translation by Edith Grossman (2011), and I cite from this edition hereafter. The verses in the original Spanish read ‘Pasos de un peregrino son errante,/ cuantos me dictó versos dulce Musa’.
- 14.
In the original Spanish this reads: ‘este sitio las seis bellas hermanas/ escogen, agraviando/en breve espacio mucha primavera/con las mesas’.
- 15.
In the original Spanish in Gache’s work this reads: ‘no menos enramado que florido’.
- 16.
In the Spanish in Góngora’s original this reads: ‘de su madre, no menos enramada,/ entre albogues se ofrece, acompañada/de juventud florida’.
- 17.
In the original Spanish this reads: ‘Su meta, lejos de ser aclarar el mensaje mediante paráfrasis, es impresionar y confundir con expresiones laberínticas, complejas, cuasi-impenetrables, enigmáticas. Así, los versos de Góngora se presentan complejos, ornamentados mediante aliteraciones, epítetos, cultismos y metáforas, alusiones y elusiones, referencias mitológicas y culturales. Recordando al pliegue barroco-leibniziano-deleuziano, en un despliegue barroco constante, los signos proliferan al infinito, de manera incontrolable. Mientras tanto el mundo se pierde tras los signos, abigarrados, amorfos, oscuros, enmascarados, anamórficos y metamórficos. Todo se pliega, se despliega y se repliega y el mundo estalla en la multiplicidad de todas sus representaciones posibles. (Gache 2011a, n.p.)
- 18.
In Gache’s original in Spanish these read: ‘sol’ ‘dulce’, ‘pues no desdeñado’, and ‘de muchos pocos de marfil dueño’.
- 19.
In Góngora’s original in Spanish this reads: ‘haciendo escollos o de mármol pario
o de terso marfil sus miembros bellos’.
- 20.
In Gache’s original in Spanish this reads: ‘pues no de Leda enamorado’.
- 21.
See Beverley for an overview of discussions of Góngora’s deliberately difficult style, including how catachresis was seen as ‘the paradigm of Góngora’s poetry’ (Beverley 1980, pp. 15–16).
- 22.
The title in the original Spanish is ‘El llanto del peregrino’.
- 23.
In the original Spanish these read: ‘el arte del merodeo’, and ‘nómada, perdida, sola, anónima y ajena’.
- 24.
In the original Spanish this reads: ‘emulando los poemas laberinto, esos juegos lingüístico-visuales tan caros al barroco y tomando la idea barroca (y borgeana) del libro como laberinto, este wordtoy recrea el texto como una metáfora de la búsqueda del hombre que parece caminar por su vida a ciegas a través de tortuosos caminos en busca su pasado, su destino y su sentido. El peregrino recorre el complejo camino de sus circunstancias así como el lector transita por los versos escritos por Góngora a partir de ramificaciones y meandros del lenguaje’.
- 25.
The original Spanish reads: ‘regiones pisé ajenas o clima propio planta mía’.
- 26.
The title in the original Spanish is ‘El arte de la cetrería’.
- 27.
The original Spanish reads: ‘La escena final de la cetrería posee una fuerte dimensión sonora, musical, desde sus primeros versos: ‘ruda hace armonía cuanta la generosa cetrería’. En su continua búsqueda de metamorfosis, Góngora entrecruza con frecuencia los campos léxicos de la ornitología, la música y la escritura. Los pájaros serán, en sus versos, tanto ‘esquilas dulces de sonora pluma’ como ‘caracteres alados en el papel diáfano del cielo’. En este wordtoy, serán las mismas ocho aves asesinas citadas por Góngora en el último fragmento de las Soledades las que, cual notas musicales en un pentagrama, se presenten a sí mismas. Cada ave lo hará a partir de un procesador de voz, convirtiéndose, junto con pájaros cucú, ruiseñores-máquinas, patos-robots y las cajas musicales en uno de los tantos juguetes mecánicos tan caros a la mentalidad barroca’.
- 28.
Indeed, as Gache notes in a footnote to this introductory paragraph, Góngora himself describes his Soledades as a singing bird in the sonnet ‘Restituye a tu mudo horror divino’.
- 29.
Multiple images of the bird as representing poetry abound in classical poetry; for a useful summary, see Doggett, who identifies the tradition of linking birdsong with poetry as reaching back to classical times, appearing in Aristophanes’s play Birds of 414 BC; the writings of Callimachus, who speaks of poems as nightingales; and Virgil’s fourth Georgics, in which the grief of Orpheus is compared to the lament of the nightingale (Doggett 1974, pp. 547–548); and also Steiner who identifies as a topos in Greek poetry from the archaic to the Hellenistic period the confrontation between antagonistic and contrasting species of birds as a metapoetic device, ‘giving authors a device for self-representation and the expression of their ethical, stylistic, and generic choices’ (Steiner 2007, p. 177). Birds also featured ubiquitously in troubadour verse, becoming, as Stark has put it, an ‘archetypal symbol for poetry’, with these poets often ‘explicitly ascrib[ing] language to birds’ (Stark 2009, p. 2); see also Kay 2013 for a fascinating study of the contrast between nightingales and parrots in troubadour poetry, and their respective roles as metapoetic images. For the Romantic poets the nightingale was ‘an idealized poet’, and, as rendered most famously, of course, in Keats’s Ode to a Nightingale, the relationship represented ‘the song of the bird as spontaneous artistry and its auditor as a poet comprehending the joy of effortless composition’ (Doggett 1974, p. 556). Birdsong as poetry also reappeared as a frequent trope in modernist poets, appearing in the poetry of Eliot and Pound, amongst others; Stark argues that, for Pound, ‘birds’ paradoxically “dulcet cries” come to embody the mellifluence, urgency and essential inarticulateness of poetic speech’ (Stark 2009, p. 4).
- 30.
It is also worth noting that this tension regarding the poetic image of birdsong appears throughout Góngora’s oeuvre; see, for instance, Elizabeth Amann’s fascinating analysis of complexity of the nightingale in Góngora’s love sonnets, in which, she argues, the nightingale is no longer the image of perfect singing but, rather, ‘here, to be like the nightingale is to find oneself mute or limited in one’s expressive range. The perfect simile between the nightingale and the poet, moreover, breaks down in Góngora’ (Amann 2013, p. 65).
- 31.
It is also worth noting that this intertextuality is existent within Gache’s own oeuvre, given that the motif of the pájaro-máquina appears elsewhere; see, for example, the chapter ‘El idioma de los pájaros’ in Word Toys (2006b), in which she defines the birds as ‘máquinas-poetas’ and notes that ‘en este sentido, comparten con el ruiseñor mecánico, en primer lugar, la paradoja de combinar una fragilidad extrema con una armadura rígida y monstruosa. También comparten el hecho de estar programados para re-citar palabras. ¿Acaso las palabras no son siempre ajenas?’ (Gache, Word Toys, 2006b).
- 32.
Each extract is taken from pp. 65–67 of the Soledades describing the birds, with the first one starting on the lines ‘El baharí, a quien fue en España cuna/ del Pirineo la ceniza verde’ (Soledades, pp. 65–66), and the last one starting on the lines ‘El sacre, las del Noto alas vestido,/ sangriento chiprïota, aunque nacido’.
- 33.
Arvidsson argues that brands are the embodiment of the logic of informational capitalism for two main reasons: because they are in themselves ‘immaterial, informational objects’ and because they are an example of ‘capital socialized to the extent of transpiring the minute relations of everyday life ’ (Arvidsson 2006, p. 13).
- 34.
The original in Spanish reads: ‘interrogar los discursos hegemónicos y trabaja con el permanente contraste entre la utopía y el lugar común’.
- 35.
I have kept the three titles in their original languages to indicate how they appear, rather than translating them all into English here.
- 36.
It is worth noting that the poetic refrain has been identified as a device which harks back to poetry’s origins in song: as Abbott notes, regarding the use of refrains in nineteenth-century French poetry, as poets sought to reassert poetry’s status in relation to music, they made use of the refrain since, as ‘a structural repetitive device, refrains in poetry recall poetry’s heritage as song’, with the refrain thus being both ‘a countable repetitive device and a patent musical trait’ (Abbott 2008, p. 130). Gache’s use of the refrain in this work therefore also makes another connection to the musical-technological format of karaoke that she mobilises, in that it emphasises song.
- 37.
Although the phrase has popularly been attributed to Pliny, Pliny himself admitted that he was doing no more than copying down a Greek aphorism . Feinberg and Solodow (2002) demonstrate how this refrain has its origins in the work of Aristotle who, for his part, was commenting on a popular refrain, rather than being the ‘original’ author of it.
- 38.
See Feinberg and Solodow (2002, pp. 255–256) for a detailed account of uses of the aphorism in contemporary documentaries, travelogues, speeches, and correspondence.
- 39.
See Davies (1996) for more on this slogan and the nihilist attitudes underpinning it.
- 40.
See, for instance, Derrida’s condemnation of Fukuyama in Spectres de Marx (1993).
- 41.
See, for instance, Klein’s analysis of how terms like ‘diversity’ were taken up by large corporations such as Nike and Benetton, and in so doing became emptied of meaning (Klein 2000, p. 122).
- 42.
In the original Spanish this reads: ‘Buenas tardes. Es un honor estar hoy aquí frente a esta audiencia. Aprovecharé esta ocasión para deciros…’
- 43.
Founded in 1960 by Raymond Queneau and Francois Le Lionnais, OuLiPo brought together a loose group of authors , including Georges Perec and Italo Calvino, interested in exploring the creation of poetry through constraints and combinatorial practices. For more on the founding of OuLiPo, see Motte (2006).
- 44.
This is not to say that the constraint was the only practice advocated by OuLiPo; see Kurt, who notes that despite the fact that ‘the name Oulipo has been synonymous with one thing: writing under strict constraint’, in fact this association excludes other Oulipo works and poetic forms, including combinatorial literature (Kurt 2015, p. 888).
- 45.
Indeed, it is worth noting the frequency with which Queneau’s works are cited as sharing similarities with a variety of digital genres including digital literature, virtual reality, net.art, and others: see, for instance, Hayles, who sees in the textual strategies of Cent mille milliards de poèmes similarities with the ‘structure, fragmentation and recombination’ intrinsic to electronic textualities (Hayles 2000); Ryan, who references Cent mille milliards de poèmes in the context of the poetics of interactivity in game worlds (Ryan 2001, p. 185); Aarseth, who mentions Cent mille milliards de poèmes several times in his development of a typology of ergodic literature (Aarseth 1997); and Cosic, who mentions the influence of Queneau and the other members of OuLiPo in the development of ASCII-art (Cosic 1999, p. 20).
- 46.
See Chap. 6 in this volume for a more detailed analysis of the practice of remix as it relates to the work of Eduardo Navas .
- 47.
I am here making reference to Guy Debord’s notions as put forth in his 1967 text The Society of the Spectacle, in which he provides an analysis of commodity capitalism as creating a society in which social space is dominated by commodities and alienated consumption, arguing that ‘the spectacle is the stage at which the commodity has succeeded in totally colonizing social life. Commodification is not only visible, we no longer see anything else; the world we see is the world of the commodity’. Although Debord developed his argument in relation to an earlier form of capitalism—that is, commodity capitalism—his theory remains of relevance today for an analysis of neoliberal, digital, corporate capitalism; see, amongst others, Plant who has argued that ‘the situationist spectacle prefigures contemporary notions of hyperreality (Plant 1992, p. 5); Briziarelli and Armano’s recent edited volume The Spectacle 2.0, which reads Debord’s theory of the spectacle for ‘the twenty-first century and the age of digital media and digital capitalism ’ (Briziarelli and Armano 2017); and Gandesha and Hartle’s 2017 edited volume which rereads Debord’s theories of the spectacle , alongside those of Lukács’s writings on reification, in the context of contemporary late capitalism .
- 48.
This statement appears in Adorno’s 1938 essay ‘On the Fetish Character in Music and the Regression of Listening’, originally published in the Zeitschrift für Sozialforschung.
- 49.
That alienation has become one of the central concepts of Marxist analyses of the colonisation of the lifeworld by capital is noted by a myriad of scholars. Betancourt states that alienation constitutes the foundational moment of capitalism , arguing that ‘alienation of human agency is innate to capitalism—the externalization of productive capacity was its first, definitional moment’ (Betancourt 2015, p. 186). Indeed, Honneth notes that the concept of alienation was so widely accepted that it defined the character of critical theory: ‘no concept has been more powerful in defining the character of early Critical Theory than that of alienation. For the first members of this tradition the content of the concept was taken to be so self-evident that it needed no definition or justification; it served as the more or less self-evident starting point of all social analysis and critique. Regardless of how untransparent and complicated social relations might be, Adorno , Marcuse, and Horkheimer regarded the alienated nature of social relations as a fact beyond all doubt’ (Honneth 2014, p. vii).
- 50.
See David McNally for an overview of the zombie figure as representative of alienation under capitalism , in particular the development from its early use as ‘zombie laborers’ through to its more recent incarnation as the ‘ghoulish consumer’ (McNally 2012, pp. 133–134).
- 51.
In English in the original.
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Taylor, C. (2019). Animating the Baroque and Resisting the Brand: Belén Gache’s Góngora Word Toys (2011) and Radical Karaoke (2011) (Spain-Argentina). In: Electronic Literature in Latin America. New Directions in Latino American Cultures. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-30988-6_5
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DOI: https://doi.org/10.1007/978-3-030-30988-6_5
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Publisher Name: Palgrave Macmillan, Cham
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Online ISBN: 978-3-030-30988-6
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