Heriberto Yépez

Nice Dream?

Allegory and radical mimesis in Heriberto Yépez

Still from Voice Exchange Rates. Walter Benjamin notes that the image of the skull is especially fit for allegory in that it poses “not only the enigmatic question of the nature of human existence as such, but also of the biographical historicity of the individual.”

Heriberto Yépez, Voice Exchange Rates, 2002. Is unoriginality already the preferred condition of USAmerican experimentalism?

Modernists and feminists

The 'poem including history' and the 'autohistoria'

This Bridge Called My Back
This Bridge Called My Back

Multilingualism has long been a key characteristic, even a central tenet of literary experimentation. So maybe it seems a bit weird that after all these commentaries I still haven’t found anything to say about the various streams of modernist literature that drew upon other languages. Why haven't I addressed T.S. Eliot's attempted reconstitution of the “mind of Europe”? What about Ezra Pound's (also attempted) translation of Chinese written characters? Or what about the less well known but no less multilingual Zurich Dada “nonsense” poems that drew upon anthropological works, using fragments and phrases from world Indigenous languages to inform their experiments in non-meaning?

Analyses of avant-garde or experimental poetry typically understand multilingualism as a part of the modernist dream of breaking with the past in order to prefigure an unforeseen but possible future.

'A grand collage'

A review of 'A Jerome Rothenberg Reader'

Published by Black Widow Press as part of their Modern Poets Series, Eye of Witness: A Jerome Rothenberg Reader interweaves poems with prose work in a grand collage,[1] proffering a vivid map through the intellectual and procedural frameworks of Rothenberg’s oeuvre. 

Ni uno más

Siempre hay más

Teresa Margolles, Bandera (Flag), Fabric dyed with blood from executions
Teresa Margolles, Bandera (Flag), Fabric dyed with blood from executions

Hay que hablar de cobardía que es la manera en que se entiende aquí el aire.
Hay que hablar de miedo.
Es decir,
hay que hablar de historia.

We must speak of cowardice which is the way to understand the air here.
We must speak of fear.
That is,
we must speak of history.
Juan Carlos Bautista, “Cabezas” (“Heads”)

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