Abstract
No single Latin American book of the twentieth century engaged more a historicist imagination than Pablo Neruda’s Canto general (1950). I take up it up first in this series of readings not just because of its exemplary treatment of historical data. Describing it “thickly” will also allow me to illustrate the complexities of what I call ciphered reading, my own version of Geertz’s idea, as the book maneuvers historical and biographical clues under its sweeping encyclopedic scope. In this I proceed inductively, taking up first general descriptions, particularly those Neruda offered up about the book successively and over a 30-year period. Indeed, Neruda began describing Canto general even before he wrote it, when it was still a draft that grew in time and took several years to complete. And because he often charged those descriptions with ideological content, as he engaged in polemics that forced him eventually to flee his native Chile, their sum-total provides an unwitting context, a screen against which the reader can judge the extent to which the resulting book carried the original project to fruition.
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Notes
See Enrico Mario Santi, Pablo Neruda:The Poetics of Prophecy (Ithaca, NY: Cornell University Press, 1982).
For Neruda’s biography, I draw on the following: Pablo Neruda: Memoirs, trans. Hardie St. Martin (New York: Farrar Straus and Giroux, 1976)
Margarita Aguirre, Las vidas de Pablo Neruda (Santiago de Chile: Zig-Zag, 1967)
Emir Rodriguez Monegal, Neruda: el viajero inmovil, revised ed. (Caracas: Monte Avila Editores, 1977)
Volodia Teitelboim, Neruda: An Intimate Biography, trans. Beverly J. deLong-Tonelli (Austin: University of Texas Press, 1991).
David Schidlowsky’s Las furias y las penas: Pablo Neruda y su tiempo (Berlin: Wissenschaftlicher Verlag, 2003).
I paraphrase, here and below, my own discussion in Pablo Neruda:The Poetics of Prophecy (Ithaca: Cornell University Press, 1982), 108–118; see in chronological order, the following: Juan Ramon Jimenez, Espanoles de très mundos (Buenos Aires: Losada, 1942)
Juan Ramon Jimenez, “Amèrica sombr a?” Repertorio americano, 24 (August 14, 1943), 209–211.
Juan Cano Ballesta, La poesia espanola entre pureza y revolución (1930–1936), (Madrid: Gredos, 1971), 202–212
Ricardo Gullón, “Relaciones Pablo Neruda—Juan Ramon Jimenez” in Pablo Neruda, ed. Rodriguez Monegal and Santi (Madrid: Taurus, 1978), 175–197.
For information on these visits, see the entries 196–207 of Woodbridge and Zubatsky, Pablo Neruda: An Annotated Bibliography of Biographical and Critical Studies (New York: Garland Publishing, 1988)
Gonzalez Videla, Memorias (Santiago: Gabriela Mistral, 1975), I, 761
Paul Drake, Socialism and Populism in Chile, 1932–1952 (Urbana: University of Illinois Press, 1978), 288.
Robert J. Alexander, Communism in Latin America (New Brunswick: Rutgers University Press, 1957)
Carmelo Furci, The Chilean Communist Party and the Road to Socialism (London: Zed Books, 1984).
Claude G. Bower, Chile Through Embassy Windows (New York: Simon and Schuster, 1958).
See “Las pequefias hermanas olvidadas,” preface to Pericles Franco Ornes, La tragedia dominicana (Anâlisis de la drama deTrujillo) (Santiago: Federación de Estudiantes de Chile, 1946)
See Jaime Torres Bodet, Memorias, 2nd ed. (Mexico City: Editorial Porrua, 1981), 596.
For the previews’ dates of first publication, see the corresponding notes to the poems in OC, I, 1208–1213. My estimate is based on comparison, section by section, of the number of poems published before February 1948 and the number that actually appear in the book: I, 0 of 6; II, all; III, 2 of 25; IV, 1 of 41;V, 1 of 5;VI, all;VII, 8 of 17;VIII, 0 of 17; IX, 0; X, 0; XI, 0 of 15; XII, 1 of 4; XIII, 0 of 17; XIV, 0 of 24; XV, 0 of 28; only by examining the Canto general manuscripts, now presumed lost, could the stages of Neruda’s writing be determined with any certainty. See, however, Robert D.E Pring-Mill, “The Evidence of the Drafts,” in his A Poet for All Seasons (London: Institute of Latin American Studies, 1993), 32–43.
Joaquin Gutierrez and Santiago del Campo, “Camino al destierro,” Ahora, 28 (October 26, 1971), 6–9.
José Miguel Varas, Neruda clandestine) (Santiago de Chile: Alfaguara, 2003).
Manuel Durân and Margery Safir, Earth Tones: The Poetry of Pablo Neruda (Bloomington, IN: Indiana University Press, 1981), 82.
Jürgen von Stackelberg, “War Neruda ein Epiker?” in Das Epos in der Romania: Dieter Kremers zum 65 Geburstag, ed. Susanne Kneller (Tübingen: Narr, 1988), 373–382
Maria José Bustos Fernandez, “El Canto general de Pablo Neruda: Revitalización del género épico,” Cuadernos de Poética (Santo Domingo, R.D.), vol. 7, no. 19 (September-December, 1989), 51–61
Keith Ellis, “Lo épico en la lirica de Pablo Neruda,” Hispanic Review, vol. 58, no. 3, (1990), 309–323
Mike Gonzalez and David Treece, The Gathering of Voices: The Twentieth Century Poetry of Latin America (London: Verso, 1992), 218–226.
Giambattista Vico, The New Science, trans. T.G. Bergin and Max Fisch (Ithaca, NY: Cornell University Press, 1970), 319–320.
Rodriguez Monegal, Neruda: el viajero inmovil, 313. For a study of Bello’s ideas: see, also by Rodriguez Monegal, El otro Andres Bello (Caracas: Monte Avila, 1969).
See Diego Barros Arana, Compendio de Historia de America (Santiago: Imprenta del Ferrocarril, 1865)
Herbert Dieckemann, “The Concept of Knowledge in the Encyclopédie,” Essays on Comparative Literature, by Dieckemann, Harry Levin, and Helmut Potekat (St. Louis: Washington University Press, 1961), 72–107
Walter Tega, Arbor Scientarum: Enciclopedie e sistemi in Francia da Diderot a Comte (Milan: Societâ Editrice II Mulino, 1984).
Michel Foucault, The Order of Things (NewYork: Vintage, 1970), 130
Karl Marx, Economic and Philosophical Manuscripts of 1844 (Moscow: Foreign Languages Publishing House, 1961), 105.
See Alain Sicard, El pensamiento poético de Pablo Neruda (Madrid: Gredos, 1981), 284–285.
Maria Magdalena Sola, Poesia y politica de Pablo Neruda: Anâlisis del Canto general (San Juan, PR: Prensa Universitaria, 1979)
Eugenia Neves, Pablo Neruda: la invencion poética de la historia (Providencia, Chile: RiL Editores, 2000).
See Neruda: el viajero inmovil, 314; and Guillermo Araya, “El Canto general de Neruda: poema épico-lirico,” Revista de critica literaria latinoamericana, vol. IV, nos. 7–8 (1978), 119–152.
Tony Judt, Past Imperfect: French Intellectuals, 1944–1956 (Berkeley: University of California Press, 1992), 101.
Jean Franco, The Decline and Fall of the Lettered City (Cambridge: Harvard University Press, 2002), 78–81.
See “The British Rule in India,” in Karl Marx and Frederick Engels, On Colonialism (Moscow: Progress Publishers, 1959), 41.
See Octavio Paz, “Re/Visions: Mural Painting,” in Essays on Mexican Art (New York: Harcourt Brace, 1987), 162.
See Wayne Booth, The Rhetoric of Fiction (University of Chicago Press, 1961), who defines it as a narrator whose version of a story or comment the reader has reason to suspect; see also Shlomith Rimmon-Kenan, Narrative Fiction: Contemporary Poetics (London: Methuen, 1983), 100–101.
See Pablo Neruda, Cantos de Pablo Neruda, Illustrations by David Alfaro Siqueiros and Carlos Beltrân (Lima: Ediciones Hora del Hombre, 1943).
The pinnacle of such a reading may be Hugo Méndez’s Neruda’s Ekphrastic Experience: Mural Art and Canto general (Lewisburg, PA: Bucknell University Press and Associated University Presses, 1999).
See Serge Fauchereav, Les Peintres révolutionnaires mexicains (Paris: Editions Messidor, 1985), 69
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© 2005 Enrico Mario Santí
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Santí, E.M. (2005). Poetry and the Cold War: Pablo Neruda’s Canto General. In: Ciphers of History. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-12245-2_2
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