Showing posts with label Colombia. Show all posts
Showing posts with label Colombia. Show all posts

Tuesday, July 10, 2012

Garcia Marquez, Writing No Longer + NYPL's Showdown + Cal-Berkeley Library Crisis

First came the email from Reggie H., then I saw the report on Raw Story followed by one on the Guardian's site stating that Gabriel García Márquez, the Colombian author and journalist who received the 1982 Nobel Prize in Literature, is now, according to his brother Jaime García Márquez, suffering from dementia exacerbated by treatment for lymphoma that was first diagnosed in 1999.
Gabriel García Márquez (Photograph: Miguel Tovar/AP)
García Márquez is best known for his superlative 1967 novel One Hundred Years of Solitude (Cien años de soledad), the most acclaimed and widely read, and perhaps most paradigmatic in terms of the genre of "magical realism," of all the Latin American "Boom" novels of the 1960s and 1970s.  His subsequent novels such as Love In the Time of Cholera (El amor en los tiempos del colera, 1985) and The General in His Labyrinth (El general en su laberinto, 1989); short story collections including No One Writes to the Colonel (El coronel no tiene quien le escriba, 1961) and Leaf Storm and Other Stories (La hojarasca, 1961, his very first published book); and his journalistic nonfiction volumes like Chronicle of a Death Foretold (Cronica de una muerte anunciada, 1981) and Clandestine in Chile: The Adventures of Miguel Littín (La aventura de Miguel Littín, clandestino en Chile, 1986) all have only cemented his fame. (One of my favorite of his novels is one of his most experimental and forbidding, consisting as it does one long block of paragraph-less prose, The Autumn of the Patriarch [El otoño del patriarca], 1975.)

García Márquez's work has influenced innumerable writers, including his peers, across Latin America and the globe. Throughout his career, he has been an outspoken man of the political Left, an indefatigable commentator on contemporary events, and a larger-than-life figure in the world of global letters, sometimes brawling in print, sometimes with fists (cf. Mario Vargas Llosa). He published his most recent book in 2004, Memory of My Melancholy Whores (Memoria de mis putas tristes), and the Raw Story article points out that it received mixed reviews, but then so did some of his later books. Jaime García Márquez told his student audience in Cartagena, Colombia that his brother, now 85 years old, "has problems with his memory" and can no longer write. The chemo checked the lymphatic cancer, but, as has been noted sometimes with other cancer patients, damaged the writer's brain. He added, "Sometimes I cry because I feel like I'm losing him." García Márquez's cessation of his writing practice is a loss for literature, but what he has produced will stand forever as an extraordinary testament; his masterpiece by itself will certainly endure, as will many of his other works, especially the short fiction and novels. As for the writer himself, I hope that his suffering is minimal, and that he spends his remaining days in Mexico, where he has lived for decades, in comfort, with loved ones.

***

I have refrained from posting extensively on the New York Public Library's plans to radically redesign its landmark Research Branch building, at Bryant Park, into a lending library with expanded Net access infrastructure and a café (or several), as well as with an attenuated staff, moving a large portion of the stacks now within the building and below the park to an offsite facility near Princeton, New Jersey, while also closing two branches, one the well-patronized but shabby Mid-Manhattan Library right across the street, the other the science and technology library that shares a building with the City University of New York's Graduate Center, in the old B. Altman Building near 34th Street, because the NYPL's Research Branch and its collections are among the treasures I love the most in New York City, and because whenever I begin to post on the topic I find my blood pressure starting to rise.

An 19th map of Boston and its environs (collection of NYPL)
I am not the only one: the proposed changes have provoked a furor among researchers, writers, and everyday New Yorkers, and many are not rolling over and keeping quiet, despite the vast amounts of wealth those seeking the changes wield. What the NYPL is facing, however, is not an isolated case; all over the country, libraries are facing reduced funding and privatization, just as public institutions in general are. It is hardly news to say the commons, and the common good, funded by all for all, is increasingly under threat in favor of what is of interest, however narrow and poorly thought out, to those at the very top of the economic pile. In the case of the NYPL, New York City and surrounding areas have one of the great libraries in the world, rivaled in its breadth and depth in the United States by only a few other institutions, including the libraries at Harvard University and the Library of Congress. And the NYPL is public, so anyone can come into the Research Branch, apply for a card to read and review books and, once the process is underway, have those books in hand, be they contemporary novels, an early edition of Benjamin Franklin's diary, rare architectural monographs, obscure early 20th century American newspapers in Chinese or Russian or Yiddish, and so forth.

This aspect of the library's mission is apparently not so important to the people pushing to have the stacks gutted and the new infrastucture installed. I think immediately of the assault--because it has far surpassed indifference--on the humanities and social sciences by people not just on the political right but even among "left"-leaning technocrats, none of whom seem to recognize the ancient and ongiongbusiness-driven model of operation poses.  As I noted, the brouhaha the proposed changes has provoked keeps growing. As the Guardian's Jason Farago says in his article "What lies behind the battle over the New York Public Library, "Hundreds of writers, from Peter Carey to Mario Vargas Llosa, have gone on record against the plan. An exhaustive exposé in the literary magazine n+1 raised the temperature, and the current issue of the New York Review of Books contains page after page of tetchy point v counterpoint. Whatever the fate of our library, a lot of people are going to be very angry when this is all over."

They will be, we will be. The we being the majority (call us the 99%) who treasure the library as it has been and is and could continue to be, with adequate funding and support, or, if as was the case when the global financial crisis caused by the 1% led to a temporary halt in these dreadful plans, the they could be those who want to tear the library's innards out to put in...who knows what, but whatever it is, it will most certainly become antiquated by the time they are heading to their graves, or cryobanks, or wherever obscene rich people will be going in the future. I think of the rapid changes in technology that have occurred even since I began writing this blog in 2005, and how I didn't foresee an app version of this site nor can I envision what forms it might take down the road.

What the future holds for digitization, for access to digitized works, for standardization of digital platforms, for libraries in general, I cannot say, nor can people whose daily livelihood is to consider the answer to these questions.  Most certainly an affordable, particularly a free, universal digital online library would benefit all humankind who had the ability the access it, but physical public libraries themselves would still play important roles all across the globe. Yet in the NYPL, in its marble halls, in its splendiferous Main Reading Room, in its other special rooms and collections, and I can attest to this fact having spent a great deal of time in it, there are books from 2005, from 1905, from 1805, from 1605, from much further back, that I have held, looked through, taken notes from, read and studied carefully, with ease and pleasure.

Will any technology for reading devised today last as long as these texts? We don't know. But the NYPL's ample collection makes a case for what has perdured and continues to do so. If only the NYPL's trustees and its current CEO realized this and proceeded accordingly.

***

Asian language texts are arranged on shelves in the C.V. Starr East Asian Library at UC Berkeley on Friday, June 15, 2012. University Librarian Tom Leonard is proposing a consolidation of resources in about half of the libraries on campus. Photo: Paul Chinn, The Chronicle / SF
I'll end today's blogging with a link to a story about the severe challenges facing one of the major public university libraries in the US, that of the University of California, Berkeley. Budget cuts have led to reduced staffing, pared down purchases, and now, to a horrible choice the university's chief librarian, Tom Leonard, faces: whether to close 16 of Cal's 24 libraries, or 10, but run the remaining ones with fewer librarians and staff members. San Francisco Chronicle journalist Nanette Asimov, writing on the SFgate site, makes clear how a sizable section of the faculty responded (and I'm surprised even more did not sign on):

Leonard expected to announce the libraries' fate in July. Instead, the faculty objected to being told they had just two choices for the wondrous athenaeums: horrible or terrible.

"There are no first-rate universities in the world without a first-rate library," 110 faculty members declared in a petition asking the university for an extra year to find other ways of keeping Cal libraries not just afloat, but great.
There are no first-rate universities in the world without a first-rate library, or, I would add, a first rate public library, at the very least, nearby. A truism by any measure, and closed libraries, or librarian-less libraries, do little good for anyone, including the books and other materials in them, and grimmer outcomes are sure to follow.  Instead of shuttering the libraries by 2/3rds vs. nearly 1/2, however, Provost George Breslauer and Chancellor Robert Birgeneau, already the target of Occupy-related protests in the past, will convene a "blue-ribbon panel" to study the issue and recommend options by August (2 weeks ago), to be implemented in December of this year.

This is serious business not just for Berkeley's students, faculty and staff, but for the state of California and for knowledge creation in general.  It is, unfortuately, of a piece with similar shifts all over; I am going to avoid hyperbole, but to put it simply, all these changes amount to flushing ourselves down the drain. We can still stop it, but we have got to get past complacency, fear, and everything else that is entropically leading us towards our own self-cancellation. We have to, and we can.

Friday, April 13, 2012

Poem: Juan Diego Tamayo

Juan Diego Tamayo Ochoa (1968-) has begun to make his name in Colombian and Hispanophone poetry on the strength of his graceful language and visionary themes, and the poem below, "Del escriba," translated by Nicolas Suescún, gives a sense of what Tamayo is up to in his work. There is a metaphysical and spiritual element in his poetry, and the poem below shifts quickly from what reflections on the importance power of the poet's poetry for his being to something deeper, a series of analogies and figures that both enchant and provoke interpretation, for he is, essentially, telling us that he's a medium, a vessel, a stylus, for forces beyond the human: what he pens comes not from his heart or mind alone, but from worlds hidden to most but not, as this designated medium, to him.

Yet we may have questions. Why and how is he the "stellar sign"? Where is this "assembly" where "men" conspire against each other for power--or rather, where isn't that? And why and how is the poet "wrenched from the mauve sunset?" One danger of such poetry is that it spins off into, as I noted above, a network of enchanting figures and abstractions, but may press our patience, leading us to ask, even if we accept the poetic conceit and symbolism, what ultimately does it all mean and how does it connect? On the other hand, isn't every poet who's deeply into her or his work wrenched from and into something beyond simple description or requiring a figurative one, and doesn't this also with certain poems happen to the reader as well? And doesn't and shouldn't the reader, like the "scribe," ask even with the most transparent poem, what's going on?

A native of Medellín, Tamayo has published one highly regarded book of poetry, Los elementos perdidos [The Lost Elements] (Medellín: Ediciones Fábula, 2005), and has several unpublished manuscripts still waiting to be put into print.  If you enjoy the poem below and read Spanish, you can find more of his poems in Spanish on the website of the Medellín International Poetry Festival, which he co-founded.


ON THE SCRIBE

As I write, I write myself. I am the one who has spent endless hours with the night ink, committing men’s memories to paper each day. I have written on the desert and every period is a grain of the same. Letters on the sea have been liquid and every word is anguish when it concerns oblivion. Sometimes I am the distant sign that judges. Other times, the letter that extols love. Almost never the one talking about what is just. In me are all the alphabets and I have tried complex calligraphies brought to me from unknown peoples hour upon hour. I have written in blood about gory battles. I have celebrated the triumph of death. I have celebrated the consecration of life with the sap of trees. I am the stellar sign. The sign of so many times that I am lost in it. I have written epistles of pain, of rejection, of sentences. Most times my hand shakes. At some moments my hand enjoys what I write and I feel as if I were caressed by a lost dove. I have brought order to obtuse thoughts. I have reordered the stars and their movements. I have attended the assembly where men conspire against others for power. Death also dictates its judgements to me. I am the celebrant of ancient alphabets in this half-lit room. Only the candelabra keeps me company and with its light I write a better horizon for the future generations. I write now, possessed by the syllables, I write on the stone of sacrifice. Hence the writing. The letter that accompanies me polishes my blood as if it were a diamond. I write with blood, with the same I have seen shed, like rivers of ink, in battles, with the same blood I have wrenched from the mauve sunset, I shall use the same blood to add the full stop to these folios on which I write my life.

And the original Spanish:

DEL ESCRIBA

Mientras escribo me escribo. Soy el que ha gastado horas eternas con la tinta de la noche para dejar en el papel del día la memoria de los hombres. He escrito sobre el desierto y cada punto final es un grano del mismo. Líquidas han sido las letras que del mar hablan y de angustia cada vocablo cuando del olvido se trata. Algunas veces soy la grafía distante que juzga. Otras la letra que enaltece el amor. Casi nunca la que al hablar de lo justo se trata. En mí están todos los alfabetos y he ensayado horas enteras complejas caligrafías que me traen de incógnitos pueblos. Con sangre he escrito sobre cruentas batallas. He celebrado el triunfo de la muerte. He celebrado con la savia de los árboles de primavera la consagración de la vida. Soy la grafía estelar. La grafía de tantos y tantos tiempos que ya en ella me pierdo. He escrito epístolas de dolor, de rechazo, de sentencias. La más de las veces mi mano tiembla. En algunos momentos mi mano se solaza con lo que escribo y me siento como si acariciara una paloma perdida. He dado orden a obtusos pensamientos. He reordenado los astros y sus movimientos. He asistido a la asamblea donde hombres confabulan contra otros por el poder. La muerte me dicta también sus arbitrios. Oficiante de antiguos alfabetos soy en esta habitación en penumbra. Sólo el candelabro me acompaña y con su luz escribo un horizonte mejor para las generaciones futuras. Escribo ahora, poseso de las sílabas, escribo sobre la piedra del sacrificio. Así la escritura. La letra que me acompaña pule mi sangre como si de un diamante se tratara. Escribo con sangre, con la misma que he visto correr, como ríos de tinta, en las batallas, con la misma sangre que le he arrebatado al ocaso malva, con la misma con la que pondré punto final a estos folios con los que escribo mi vida.

Copyright © Juan Diego Tamayo, "Del escriba," from Oscura ceniza, first published by PIW, 2009. Translated by Nicolás Suescún, Copyright © 2009.

Friday, February 24, 2012

Carnaval/Carnival/Mardi Gras 2012

Last night and today, more snow, more cold, more winter here in Chicago. The quarter has only a month or so to go; so too, and sooner, I hope, this season and its weather.

Short of being here:

Colgate sign, shoreline, Jersey City (Ellis Island in background)
I wouldn't mind being here:

Beija-Flor samba school revelers
in the 1st night of the Rio 2012 Carnaval parade
in the Sambodrome (Ricardo Moraes/Reuters)

Portela samba school revelers
in the 1st night of the Rio 2012 Carnaval parade
in the Sambodrome (Nacho Doce/Reuters)
Porto da Pedra samba school revelers
in the 1st night of the Rio 2012 Carnaval parade
in the Sambodrome (Ricardo Moraes/Reuters)
Vila Isabela samba school revelers
in the 1st night of the Rio 2012 Carnaval parade
in the Sambodrome (Ricardo Moraes/Reuters)
Or here:
15th edição do Concurso de fantasia Gay 2012
Salvador da Bahia, Brazil (Photo from Dois Terços)
Scholar and activist Dr. Luiz R. B. Mott
15th edição do Concurso de fantasia Gay 2012
Salvador da Bahia, Brazil (Photo from Dois Terços)
15th edição do Concurso de fantasia Gay 2012
Salvador da Bahia, Brazil (Photo from Dois Terços)
Carnaval do Salvador da Bahia 2012, Brazil
(Photo from Dois Terços)
Or here:

Noite Para os Tambores Silenciosos
Carnaval de Olinda 2012, Brazil
(Passarinho/Preifeitura Olinda)
7th Running of the Bonecas Gigantes
Carnaval de Olinda 2012, Brazil
(Luiz Fabiano/Preifeitura Olinda)
Noite Para os Tambores Silenciosos
Carnaval de Olinda 2012, Brazil
(Passarinho/Preifeitura Olinda)
Carnaval de Olinda 2012, Brazil
(Ádria de Souza/Preifeitura Olinda)
Or here:
Second Sunday, Carnaval Vegano 2012
La Vega, Dominican Republic
(Activao.com)
Second Sunday, Carnaval Vegano 2012
La Vega, Dominican Republic
(Activao.com)
Second Sunday, Carnaval Vegano 2012
La Vega, Dominican Republic
(Activao.com)
Second Sunday
Carnaval 2012, La Vega, Dominican Republic
(Carnival Vegano)

Or here:

Queen of Carnival Chariss Bovell's
"Mother of Humanity - The Weeping Madonna"
Trinidad & Tobago Carnival 2012
(www.tntmirror.com)
King of Carnival Roland St. George's Ralliez-Vouz A Mon Panache Blanc
Trinidad & Tobago Carnival 2012
(www.tntmirror.com)
Gerard Weekes portrays "Malak Yahweh - The Praying Mantis"
Trinidad & Tobago Carnival 2012
(www.tntmirror.com)
Rose Marie Kuru Jagessar's "Wachiwi-I Dream of a Bustle Dancer"
Trinidad & Tobago Carnival 2012
(www.tntmirror.com)
Or here:

Gran Parada de la Vía 40
Carnaval de Baranquilla, Colombia 2012
(elheraldo.co)
Gran Parada de la Vía 40
Carnaval de Baranquilla, Colombia 2012
(elheraldo.co)
Gran Parada Carlos Franco
Carnaval de Baranquilla, Colombia 2012
(elheraldo.co)
Gran Parada Carlos Franco
Carnaval de Baranquilla, Colombia 2012
(elheraldo.co)

Or here:


Zulu Social Aid & Pleasure Club
2012 New Orleans Mardi Gras Parade
(Kim Welsh/Offbeat.com)
Mayor Mitch Landrieu (at right)
Zulu Social Aid & Pleasure Club
2012 New Orleans Mardi Gras Parade
(Kim Welsh/Offbeat.com)
Former New Orleans Mayor Marc Morial (l)
and UN Ambassador Andrew Young (r)
Zulu Social Aid & Pleasure Club
2012 Mardi Gras Parade
(Kim Welsh/Offbeat.com)
Krewe de Vieux
2012 New Orleans Mardi Gras Parade
(Kim Welsh/Offbeat.com)

I'd even take here, though it doesn't appear to have been that much warmer. But the beads, beats and free-flowing beer do make up for the chill, and they do appear to be having fun, probably even more so than what I remember from years ago.  Chicago, time to get on it....

Soulard Mardi Gras 2012 Celebration
St. Louis, Missouri
(Steve Truesdell/Riverfront Times)
Soulard Mardi Gras 2012 Celebration
St. Louis, Missouri
(Megan Gilliland/Riverfront Times)
Soulard Mardi Gras 2012 Parade
St. Louis, Missouri
(Steve Truesdell/Riverfront Times)
Men in heels race
Soulard Mardi Gras 2012 Celebration
St. Louis, Missouri
(Bryan Sutter/Riverfront Times)