Abstract
In 1943, amidst a year ridden by crisis—personal, political, and poetic— Octavio Paz wrote a proposal to the John Simon Guggenheim Memorial Foundation for one of its yearlong research fellowships. Paz’s proposal called for a study of “America and its Poetic Expression,” by which he meant poetry in both North and South, Anglo and Latin America, and taking at face value the Foundation’s stated criteria for “strengthening interamerican cultural relations and fostering greater continental intelligence.” In that study, which set out to answer one single question:”Do the Americas have a common soul?” Paz sought to isolate, in the history of Western Hemispheric poetry, “those traits that single it out, give it an original native profile, accent, and direction,” though not so much, he warned, in order to show “the forms in which that poetry has crystallized” as “to find in its language the history of a sensibility.” While surveying the span of continental poetry from Sor Juana and Emily Dickinson to Alfonso Reyes and Robert Frost, the proposal did single out three names—Poe, Dario, and Whitman—as sundry cases split into two tendencies: one (Poe’s and Dario’s) universal or cosmopolitan, the other (Whitman’s) a native strain expressing the “burgeoning American soul.” Indeed, Whitman’s name punctuated Paz’s entire proposal, and although he never did complete it (mercifully, perhaps), and instead spent his fellowship year at Berkeley writing his own poetry, the proposal does stand as a key document in the history of what one could call, for lack of a better name, the Whitman question in Spanish America.1
The American poets are to enclose old and new, for America is the race of races. Of them a bard is to be commensurate with a people. To him the other continents arrive as contributions.
Walt Whitman, 1855 Preface to Leaves of Grass
But because we live not in a continent but in islands, so terribly isolated, we know so little of each other that we don’t even hate one another.
Octavio Paz, “Is America a Continent?”
Does this Aleph exist in the heart of a stone? Did I see it there in the cellar when I saw all things, and have I now forgotten it? Our minds are porous and forgetfulness seeps in.
Jorge Luis Borges, “The Aleph”
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Notes
Octavio Paz, The Bow and the Lyre, trans. Ruth L.C. Simms (Austin: University of Texas Press, 1973), 274.
See Doris Sommer, “Supplying Demand: Walt Whitman as the Liberal Self,” in Reinventing the Americas: Comparative Studies of literature of the United States and Spanish America, ed.Bell Gale Chevigny and Gari Laguardia (Cambridge: Cambridge University Press, 1986), 68–91.
Fernando Alegria, Walt Whitman en Hispanoamérica (Mexico City: Colección Studium, 1954).
Hensley C. Woodbridge, “Walt Whitman: Additional Bibliography in Spanish,” Walt Whitman Review, 12 (September 1986), 70–71
Alberto Uva, “Notas para un estudio del “Whitman’ de José Marti,” trans. Jean R. Langland, Anuario de Filologia 8–9 (1969–1970), 199–212
Luis Eugénio Ferreira, Walt Whitman: Vida e Pensamento (Aifragide, Portugal: Galeria Panorama, 1970)
Mauricio Gonzalez de la Garza, Walt Whitman Racista, Imperialista,Anti-mexicano (Mexico City: Colección Malaga, 1971)
Hensley C. Woodbridge, “Gonzalez de la Garza: Anti-Whitman,” Walt Whitman Review 17 (December 1971), 142–143
Emilio Bernai Labrador, “El idioma de Whitman: su traducción,” Revista Interamericana de Bibliografla 21 (1971), 46–63
Roger Asselineau and William White, eds., Walt Whitman in Europe Today: A Collection of Essays (Detroit: Wayne State University Press, 1972), 9–12
Sister Agnes V. McLaughlin, “Una comparación entre la poesïa de Luis Llorens Torres y la de Walt Whitman,” Horizontes: Revista de la Universidad Católica de Puerto Rico, 31–32 (1973), 73–93
Roger Asselineau, “Spanish Leaves from Argentina,” Walt Whitman Review, 23 (June 1977), 94–96
Claire Paxton, “Unamuno’s Indebtedness to Whitman,” Walt Whitman Review, 9 (March 1963), 16–19
Debra Harper, “Whitman and Unamuno: Language for Immortality,” Walt Whitman Review, 25 (June 1979), 60–73
Vilma Areas, “Uma Epopea para Vozes.” Adas do 20 Congresso Intemacional de Estudos Pessoanos (Oporto: Centra de Estudos Pessoanos, 1985), 47–59
Manuel Gómez-Reinoso, “Marti and Whitman,” West Hills Review, vol. 3 (1981–1982), 47–48
Horacio Pena, “Aproximaciones a Ruben Dario y Walt Whitman,” Kanina, vol. 8 (1984) 165–176
José L. Caramés Lago, “Evocaciön de Leon Felipe en su centenario,” Arbor, 118 (July-August 1984), 125–132
Neil Larsen and Ronald W. Sousa, “From Whitman (to Marinetti) to Alvaro de Campos: A Case Study in Materialist Approaches to Literary Influence,” Ideologies & Literatures, vol. 4 (September-October 1983), 94–115
Angel Rama, “José Marti en el eje de la modern-ización poética: Whitman, Lautréamont, Rimbaud,” Nueva Revista de Filologia Hispânica, vol. 32 (1983), 96–135.
For the texts of this polemic see Lewis Hanke, ed., Do the Americas Have a Common History? A Critique of the Bolton Theory (New York: Knopf, 1964).
Octavio Paz, The Siren and the Seashell and Other Essays on Poets and Poetry, trans. Lysander Kemp, et al. (Austin: University of Texas Press, 1970).
See José Marti, “The Poet Walt Whitman,” in Josó Marti, Selected Writings, trans. Esther Allen (NewYork: Penguin, 2002), 183–195
See Betsy Erkkila, Walt Whitman Among the French: Poet and Myth (Princeton: Princeton University Press, 1980).
For a discussion of carnival and the carnivalesque, see Mikhail Bakhtin, Rabelais and His World, trans. Hólòne Iswolsky (Cambridge: MIT Press, 1968).
See Vasseur, Cantos augurales (Montevideo: O.M. Bertani, 1904), and Alegria, 284).
Arturo Sergio Visca, “Conversando con Zum Felde,” Reportajes Culturelles (Biblioteca Nacional, Montevideo), 1 (1969), 36.
Jorge Luis Borges, “La doctrina de los ciclos” (1934), in Historia de la eternidad (Buenos Aires: Emecé Editores, 1953), 84.
Gonzalo Sobejano, Nietzsche en España (Madrid: Editorial Gredos, 1967)
Udo Rukser, Nietzsche in der Hispania: Ein Beitrag zur Hispanischen und Geistesgeschichte (Bern: Francke, 1962).
See C.N. Stavrou, Whitman and Nietzsche: A Comparative Study of their Thought (Chapel Hill: University of North Carolina Press, 1964), 193.
See Harold Bloom, Poetry and Repression: Revisionism from Blake to Stevens (New Haven: Yale University Press, 1976)
Nerudareviewed Torres-Rioseco’s translations, Walt Whitman (San José: Costa Rica, 1922)
See Pablo Neruda, “Los libros: Poemas del hombre: Libros del corazón, de la voluntad, del tiempo y del mar, por Carlos Sabat Ercasty,” Claridad 87 (May 12, 1923); OC, IV, 311.
I quote from The Aleph and Other Stories (1933–1969), ed. Norman Thomas di Giovanni (New York: E.P. Dutton, 1970), 217–218. At a further point in the essay (251) Borges mentions Whitman in a list of literary heroes. Besides Borges s own texts on Whitman, see Alexander A. Coleman, “Notes on Borges and American Literature,” Tri-Quarterly Review 25 (1972), 356–377
Emir Rodriguez Monegal, Jorge Luis Borges: A Literary Biography (NewYork: E.P. Dutton, 1978), 147–149
Jaime Alazraki, “Enumerations as Evocations: On the Use of a Device in Borges s Latest Poetry,” in Borges, the Poet, ed. Carlos Cortínez (Fayetteville: University of Arkansas Press, 1986), 149–157
Jorge Luis Borges, Prologos, con un prologo de prologos (Buenos Aires: Torres Agüero, 1975), 174.
Jorge Luis Borges, “La naderia de la personalidad,” in Inquisiciones (Buenos Aires: Gleizer, 1925), 90–93
Walt Whitman, Hojas de hierba, trans. Jorge Luis Borges (Buenos Aires: Editora Juarez, 1969), 173.
Jorge Luis Borges, Collected Fictions, trans. Andrew Hurley (New York: Viking, 1999) 283.
See Richard Bürgin, Conversations with Jorge Luis Borges (New York: Holt, Rinehart and Winston, 1969), 95–96
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© 2005 Enrico Mario Santí
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Santí, E.M. (2005). This Land of Prophets: Walt Whitman in Latin America. In: Ciphers of History. New Directions in Latino American Cultures. Palgrave Macmillan, New York. https://doi.org/10.1007/978-1-137-12245-2_3
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