1 Indigenous Litter-Ature 2 Drinking on the Pre-Mises: the K'ulta “Poem” 3 Language, Poetry, Money

Notes

1 Indigenous Litter-ature 1 . E r n e s t o W i l h e l m d e M o e s b a c h , Voz de Arauco: Explicación de los nombres indí- genas de Chile , 3rd ed. ( Santiago: Imprenta San Francisco, 1960). 2. Rodolfo Lenz, Diccionario etimológico de las voces chilenas derivadas de lenguas indígenas americanas (Santiago: Universidad de Chile, 1910). 3 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 4 . R . S á n c h e z a n d M . M a s s o n e , Cultura Aconcagua (Santiago: Centro de Investigaciones Diego Barros Arana y DIBAM, 1995). 5 . F e r n a n d o M o n t e s , La máscara de piedra (La Paz: Armonía, 1999).

2 Drinking on the Pre-mises: The K’ulta “Poem” 1. Thomas Abercrombie, “Pathways of Memory in a Colonized Cosmos: Poetics of the Drink and Historical Consciousness in K’ulta,” in Borrachera y memoria , ed. Thierry Saignes (La Paz: Hisbol/Instituto Francés de Estudios Andinos, 1983), 139–85. 2 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 3 . M a n u e l d e L u c c a , Diccionario práctico aymara- castellano, castellano-aymara (La Paz- Cochabamba: Los Amigos del Libro, 1987). 4. Abercrombie, “Pathways of Memory,” 147, 156.

3 Language, Poetry, Money 1 G a b r i e l a M i s t r a l , Gabriela anda por el mundo: Selección de prosas y prólogo de Roque Esteban Scarpa , ed. R. E. Scarpa and A. Bello (Santiago: Andres Bello, 1978). 2. Mistral, Gabriela anda por el mundo, 185.. 144 ● Notes

3. So strong was Gabriela Mistral’s identification with “the Indian” that—like the Bolivian writer Franz Tamayo, under different circumstances—she once emphatically declared to Peruvian journalist Ciro Alegría: “I am an Indian.” If her determined work toward the defense and promotion of indigenous peoples is more than evident (one quick anecdote from an eyewitness, the poet Humberto Díaz- Casanueva: after receiving the Nobel prize, Gabriela Mistral was received by United States president Harry Truman, whom she promptly reprimanded, “Why does a country as powerful as the United States not help my ‘little Indians’ in Latin America who die of hunger?”), then it is precisely her identification and advocacy that make the framing of “The Spanish Language and Indigenous Dialects in America” so crudely surprising. Her vindication of the “race” (term care of Mistral), combined with her reprobation of the (indigenous) languages, form this major contra- diction in the poet—a result of her unobjecting embrace of the previously mentioned distinction between (indigenous) “dialect” and (European) “language.” Such a delimitation has no numerical basis: in 1932, Quechua was the most widely spoken Indo- American language (as it is today, with close to 10 million speakers). The border between “language” and “dialect” is straight up, as Mistral puts it, desire—the desire of the alter to understand, or not, such or such a language—that is, a given language’s ability to build interest and draw foreign (libidinal) investors. “Nobody will learn our poor Quechua,” combined with “a language that is complete . . . cannot survive off its pure relations alone but must gain a clientele among foreigners.” Contra- diction—meridional tinku ? Her “intimate diary” evinces a similar ambiva- lence: “My reputation as an indigenist comes from the little that I’ve done to vindicate the Indian in general, in support of the admirable culture that the Mayas, Toltecs, and Quechuas had—and have. I couldn’t make use of the Araucanians, due to the weakness of their art and their base primitivism [ sic ].”

4 Crossbreed: Examining the Braid of Fiction 1 . A l o n s o C a r r i ó d e l a V a n d e r a , El lazarillo de ciegos caminantes (Buenos Aires: Emecé, 1997), 283. 2 . d e l a V a n d e r a , El lazarillo, 9. 3 . d e l a V a n d e r a , El lazarillo, 282. 4 . d e l a V a n d e r a , El lazarillo, 11. 5. “Alonso Carrió de Lavandera.” Encyclopædia Britannica Online. Web. Jan. 11, 2011. 6 . T e l e v i s e d s o a p o p e r a . 7 . d e l a V a n d e r a , El lazarillo, 38. 8 . d e l a V a n d e r a , El lazarillo, 59. 9 . d e l a V a n d e r a , El lazarillo, 266–81. 10. de la Vandera, El lazarillo, 24. Notes ● 145

5 Aged War 1. Don Juan de Mendoza Monteagudo, Las guerras de Chile (Santiago: Ercilla, 1888). 2 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , ed. Mario Ferreccio Podestá and Raïssa Kordic (Santiago: Biblioteca Antigua Chilena, 1996). 3 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 1–4. 4 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 618. See also oct. 788, “[a] aqueste Ilión pequeño te viniste” [ you came to this little Ilion ]. 5 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 592. 6 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 908. 7 . F e r r e c c i o P o d e s t á , i n La guerra de Chile, 29. 8 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 444. 9 . d e M e n d o z a M o n t e a g u d o , La guerra de Chile , oct. 631.

6 Overborders 1 . A n t o n i o P i g a f e t t a , La mia longa et pericolosa navigatione: La prima circumnav- igazione del globo (1519-1522) , ed. Luigi Giovannini (Milan: Paoline, 1989). Transcription of the codex in the Biblioteca Ambrosiana, introduction, and notes by Luigi Giovannini. 2. James Joyce, Ulysses (London: Penguin Books, 1992), 721–22. 3 . J o y c e , Ulysses, 721. 4 . P i g a f e t t a , La mia longa, 53. Pigafetta (“To experience myself”): “Havendo yo havuto gran notisia per molti libri letti et per diverse personne, che praticavano con sua signoria, de le grande et stupende cose del mare Occeanno, deliberay, con bonna gratia de la magestà cezaria et del prefacto signor mio, far experien- tia di me et andare vedere quelle cose , che potessero dare alguna satisfatione a me medesmo et potessero parturirmi qualche nome apresso la posterità. ” [ Having obtained information from many books I had read, as well as from various people, who discussed the great and marvelous things of the Ocean Sea with his Lordship, I decided, with the good grace of His Cesarean Majesty, and of his abovementioned Lordship, to experience myself and to see those things that might satisfy me some- what, and might lend me some renown in posterity.] 5. One would be tempted to identify the Patagonian giant’s terror with that of Borges, in whose writings one can find multiple confessions of terror before the mirror (“Covered Mirrors,” “Mirrors,” “Oedipus and the Enigma,” “To the Mirror,” “The Mirror and the Mask,” “The Mirror,” etc.). But the other eye might wink at us (“other” is precisely the word that Pigafetta consigns, in his short list of Tehuelche vocables, to translate the Patagonian word “eye”). In El hombre ante el espejo del libro (Barcelona: Gedisa, 1998), a biography of Borges, J. Woodhall insistently associates this Borgesian blind terror with the fear of a loss of self, loss of self-possession, especially when it comes to sex: “Borges detested it [the vertiginous experience of self- multiplication in a mirror] and, as 146 ● Notes

such, he later would come to detest the idea of seeing himself expatriated from his self, as the result of drugs, drink or sex” (54). “I offer you explanations of yourself, theories about yourself, authentic and surprising news of yourself.” Jorge Luis Borges, “Two English Poems” (El otro, el mismo, 1964). 6 . S t e f a n o L a n u z a , Storia della lingua italiana (Roma: Newton Compton, 1994), 39. 7. Lanuza, Storia della lingua italiana, 41. 8 . B a l d e s a r C a s t i g l i o n e , [ 1 5 2 7 ] Cortegiano [ The Courtier ], cited in Lanuza, Storia della lingua italiana, 42. 9. Pietro Bembo, [1525] Prose della volgar lingua, cited in Lanuza, Storia della lingua italiana, 40. 1 0 . P i g a f e t t a , La mia longa, 78. 11. Rafael Lapesa, Historia de la lengua espanola (Gredos: Madrid, 1981). 1 2 . R . M e n é n d e z P i d a l , e d . Poema de mio Cid (Santiago: Zig- Zag, 1972), 44, ll. 839–40. 13. Hernán Cortés, Second letter to the Emperor Carlos V, Segura de la Frontera, October 30, 1520, Cartas de relación (Mexico: Purrúa, 1993), 64. 14. Amado Alonso, [1938] Castellano, Español, Lengua Nacional (Buenos Aires: Losada, 1979), 9. 15. Gabriel René Moreno, [1864] Introducción al estudio de los poetas bolivianos (La Paz: Ed. Biblioteca del Sesquicentenario de la República, 1975). 16. Bartolomé Arzáns de Orsúa y Vela, [1736] Historia de la villa imperial de Potosí , ed. Lewis Hanke and Gunnar Mendoza (Providence: Brown University Press, 1965). 17. Jesús Lara, trans. Tragedia del fin de Atawallpa/Atau Wallpaj p’uchukakuyninpa wankan (Buenos Aires: Ed. del Sol, 1989). 18. La mort d’Ataw Wallpa ou La fin de l’Empire des Incas: Tragédie anonyme en langue quechua du milieu du XVIe siècle, ed., trans., Jean- Philippe Husson (Geneva: Patiño, 2001). 1 9 . J e s ú s L a r a , Diccionario Qheshwa- Castellano (La Paz: Los Amigos del Libro, 1971). 2 0 . D . G o n z á l e z d e H o l g u í n , [ 1 6 0 8 ] Vocabulario de la lengua general de todo el Perú llamada lengua qquichua o del inca , ed. R. Porras Barrenechea (Lima: UNMSM, 1989). 2 1 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 2 2 . G u a m á n P o m a d e A y a l a , [ 1 6 1 5 ] Nueva corónica y buen gobierno , ed. F. Paese, trans. J. Szeminski (Mexico: FCE, 1993). In English translation: The First New Chronicle and Good Government: On the History of the World and the Incas up to 1615 , ed. and trans. Roland Hamilton (Austin: University of Texas Press, 2009). 23. Cf. Rodolfo Cerrón- Palomino, Quechumara: Estructuras paralelas del quec- chua y del aimara (La Paz: UMSS/PROIEB/Andes/Plural, 2008); Yolanda Notes ● 147

Lastra, “Categorias posicionales en quechua y aymara,” Anales de Antropología (Mexico), vol. VII, 263–84; and Carolyn Orr and Robert Longacre, “Proto- Quecuamaran,” Language , 44, 528–55. 24. Jesús Lara, trans., Tragedia del fin de Atawallpa , 12, 13. 2 5 . Tragedia del fin de Atawallpa , 40. The border as a terminus also occurs at the end of Atau Wallpaj p’uchukakuyninpa wankan , with the final scene: a mani- festly European (it takes place in Barcelona) throw- in [cf., Margot Beyersdorff, Historia y drama ritual en los Andes bolivianos (La Paz: Plural, 2003)] where the dramatic vagaries of Atahualpa’s death in the South Andes are followed in detail and where, too, the core of César Itier’s hypothesis—that Cantar is purely an invention by Jesús Lara—becomes implausible [cf., César Itier, “ ¿Visión de los vencidos o falsificación? Datación y autoría de la Tragedia de la muerte de Atahuallpa” in Boletín IFEA 30 (2000), 103–21].

7 A Fatherless Poem? 1. Carlos García-Bedoya, “Pasados imaginados: la Conquista del Perú en dos obras dramáticas coloniales,” in El teatro en la Hispanoamérica colonial , ed. I. Arellano and J. A. Rodríguez (Madrid: Iberoamericana, 2008), 353–68. 2. Jesús Lara, Tragedia del fin de Atawallpa/Atau Wállpaj p’uchukakuyninpa wankan (Buenos Aires: Ed. del Sol, 1989). 3. M. Burga, Nacimiento de una utopía: Muerte y resurrección de los incas (Lima: IAP, 1988). 4. La mort d’Ataw Wallpa ou La fin de l’Empire des Incas: Tragédie Anonyme en Langue Quechua du Milieu du XVIe Siècle, ed., trans., Jean- Philippe Husson (Geneva: Patiño, 2001). 5. Bartolomé Arzáns de Orsúa y Vela, [1736] Historia de la villa imperial de Potosí , ed. Lewis Hanke and Gunnar Mendoza (Providence: Brown University Press, 1965). 6 . C é s a r I t i e r , “ ¿ Visión de los vencidos o falsificación?/Datación y autoría de la Tragedia de la muerte de Atahuallpa” in Boletín IFEA 30 (2000): 103–21. 7 . G a r c í a - B e d o y a , “ P a s a d o s i m a g i n a d o s , ” 3 5 6 . 8. Pierre Duviols, “Las representaciones andinas de ‘La muerte de Atahuallpa’. Sus orígenes culturales y sus fuentes” in Tradición culta y sociedad colonial: La formación del pensamiento iberoamericano , ed. K. Kohut and S. Rose (Madrid: Iberoamericana, 2000). 9. Nathan Wachtel, La vision des vaincus. Les Indiens du Pérou devant la Conquête espagnole (Paris: Gallimard, 1971). 10. Margot Beyersdorff, Historia y drama ritual en los Andes bolivianos (siglos XVI–XX) (La Paz: Plural Editores, 2003). 11. Antonio Cornejo Polar, Escribir en el aire/Ensayo sobre la heterogeneidad socio- cultural en las literaturas andinas (Lima: Horizonte, 1994). 12. César Guardia Mayorga, Gramática Kechwa: Runasimi Allin Rimay Yachay (Lima: Los Andes, 1973). 148 ● Notes

13. César Guardia Mayorga, Diccionario Kechwa- Castellano, Castellano-Kechwa (Lima: Los Andes, 1959). 14. Jesús Lara and Luis Antezana, Entrevista/Tapuy Jayñiy (Cochabamba: Los Amigos del Libro, 1980), 106. (Text omitted by Itier.) 15. Lara and Luis Antezana, Entrevista/Tapuy Jayñiy, 38–39. 1 6 . J o s é D i o n i s i o A n c h o r e n a , Gramática Quechua Ó Del Idioma Del Imperio de los Incas (Lima: Imprenta del Estado, 1874). 1 7 . D . G o n z á l e z d e H o l g u í n , [ 1 6 0 8 ] Vocabulario de la lengua general de todo el Perú llamada lengua quichua o del inca , ed. R. Porras Barrenechea (Lima: UNMSM, 1989). 1 8 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la lengua aymara (La Paz: Radio San Gabriel, 1993). 1 9 . G u a m á n P o m a d e A y a l a , [ 1 6 1 5 ] Nueva corónica y buen gobierno , ed. F. Paese, trans. J. Szeminski (Mexico: FCE, 1993). In English translation: The First New Chronicle and Good Government: On the History of the World and the Incas up to 1615 , ed. and trans. Roland Hamilton (Austin: University of Texas Press, 2009). 20. X. Albó and F. Layme, “Más sobre el aymara de Huamán Poma” in Entre Tradición e Innovación. Cinco Siglos de Literatura Amerindia , ed. Jean-Philippe Husson (Lima: PUCP, 2005). 21. César Itier and Lydia Cornejo, Quyllur Llaqtayuq Wawamanta [translation of Le Petit Prince , by Antoine de Saint- Exupéry], ed. A. Pukllasunchis (Cuzco: CERABC/IFEA, 2002). 22. César Itier, “Estrategias de traducción de una obra literaria moderna en una lengua amerindia,” Amérindia 22 (1997), 87–95. 2 3 . E d g a r A . P o e , [ 1 8 5 6 ] Edgar A. Poe: Histoires Extraordinaires , trans., C. Baudelaire, Preface by J. Cortázar (Paris: Gallimard, 1973). 2 4 . E d g a r A . P o e , Edgar Alan Poe: Cuentos 1, trans. and preface by Julio Cortázar (Madrid: Alianza Editorial, 1970). 25. We will have to return to the issue of Cortázar’s debt to Baudelaire with respect to his translation of Poe on another occasion.

8 Umiri—Misturaski 1 Passage from “Qulla aymara jaqitaki k”it”itasa” Rufino P”axsi Limachi, Aymar Yarawiku (La Paz: Inmenaqubol, Chukiyawi, 1983), 30. Interchange by A. Ajens. A yarawi , or arawi, a South Andean song or lament, according to Guamán Poma, is a loan from Quechua, or Runa Simi, where Colla Aymara- speakers call it wanka. In light of the hypothesized Aymara and Quechua “common foundation,” Quechuaymara or proto-Aymara- Quechua (Cerrón Palomino, E., Hardman, M. J., etc.), we will leave the issue conspicuously half- open here. 2 . L u d o v i c o B e r t o n i o , [ 1 6 1 2 ] Vocabulario de la Lengua Aymara (La Paz: Radio San Gabriel, 1993). Notes ● 149

3. For example, see Ludovico Bertonio, [1612] Vocabulario de la Lengua Aymara (La Paz: Radio San Gabriel, 1993); Manuel de Lucca, Diccionario práctico aymara-castellano, castellano-aymara (La Paz-Cochabamba: Los Amigos del Libro, 1987); and Martha Hardman et al ., Aymara: Compendio de estructura fonológica y gramatical (La Paz: ILCA, 1998). 4. As suggested by R. Cerrón- Palomino, “El cantar del Inca Yupanqui y la lengua secreta de los incas,” Andina 32 (1998), but called into question by Alfredo Torero, Idioma de los Andes, Linguística e Historia, 2 nd ed. (Lima: Editorial Horizonte, 2005). 5 . P . R a m í r e z d e Á g u i l a , [ 1 6 3 9 ] Noticias políticas de Indias (Sucre: División de Extensión Universitaria, 1978). 6 . T h e fine print arch- discriminates. Which is to say: note the arch- risk of whoever would claim to sacrament (essentialize) the so- called mixture (that fusion) versus the so- called misture (inter alias, convenience, and/or encounter). And at the same time: without the risk of an undifferentiating mixture, nothing would risk a misture (and the improbable im/possibility of an intermixup would be blurred, so then an intermixup without risk—a whole program!—nor would it be a failure to coincide). “Misture, also, and more so, is the style of Guamán Poma de Ayala,” in the words of J. M. Arguedas, who goes back to Vallejo on the frontlines of the “language conflict” in the Andes (“Between Kechwa and Castellano: The Anguish of the Mestizo,” in Indios, Mestizos y Señores (Lima: Horizonte, 1989).

9 Flower of Extermination 1 . I n S p a n i s h : No me prendas la flor del exterminio . Bustriazo Ortiz, Canción Rupestre , 1972, unpublished. Selected excerpts, including the poem “Archaic Ballad,” in Unca Bermeja y Otros Poemas (Santiago: Intemperie, 2006). 2 . P a t r i c i o M a r c h a n t , Sobre Árboles y Madres (Santiago: Sociedad Editora Leal Ltda. Ediciones Gato Murr, 1984). 3. The (lack of/in) translation, Patricio Marchant’s “problem”: the problem’s aper- ture as oblivion and as problem . See the epigraphs in On Trees and Mothers and also my “Traduire (en) Marchant/telegramatías sub lenguas, nombres y escrituras,” Nombrada (Santiago: Arcis, 2004). À suivre . 4 . P a u l C e l a n , Cambio de Aliento , trans. Felipe Boso (Madrid: Poesía/Cátedra, 1983). 5. Pablo Oyarzún Robles translates “Krudes” as “lo crudo.” 6 . D o m i n g o F a u s t o S a r m i e n t o , El Progreso (Santiago, Chile), September 27, 1844. 7. Cf. Jorge Pinto Rodríguez, “Del antiindigenismo al proindigenismo en Chile en el siglo XIX,” in La reindianización de América , ed. Leticia Reina (Mexico City: Siglo XXI, 1997), 137–60; Rodrigo Andreucci, “La incorporación de las tierras de Arauco al Estado de Chile y la posición iusnaturalista de la Revista Católica” in Revista de Estudios Histórico- Jurídicos , no. 20, (Valparaíso, Chile), 150 ● Notes

1998, 37–84; José Bengoa , “El verano del 69: La guerra de exterminio” in Historia del pueblo Mapuche, siglos XIX y XX (Santiago: Lom, 2000), 207–50, 180, 181, 275. El Mercurio de Valparaíso pointed to May 24, 1859: “Men were not born for no reason, to live like jungle animals, destitute of humanity, and a group of barbarians, a group as barbarous as the Pampas or Araucanos, is no more than a horde of wild beasts, who must be urgently enslaved or destroyed in the interest of humanity and for the good of civilization” (cited in J. Pinto). Combined with these “civilizing” concerns, there are also pecuniary lines of argument. El Mercurio added: “the reason for subduing and exterminating the indians stems from public convenience and the benefits of controlling the vast, rich territory of Araucania, with its excellent wood for construction, beautiful navigable rivers, and immense and fertile fields” (cited in R. Andreucci). 8 . T o m á s G u e v a r a , [ 1 9 0 8 ] Historia de la Civilización de la Araucanía (Santiago: Andújar, 1988), 80. 9 . L e o p o l d o L u g o n e s , El Imperio Jesuítico (Buenos Aires: Compañía Sudamericana de Billetes de Banco, 1904), 306. 10. Jorge Luis Borges, “Domingo Faustino Sarmiento. Facundo” in Jorge Luis Borges: Obras completas , vol. 3 (Barcelona: Emecé, 1997), 129. 1 1 . D o m i n g o F a u s t o S a r m i e n t o , Recuerdos de Provincia (Buenos Aires: Emecé, 1944). 12. We might underline in these words ( our history would have been another, and better ), Borges is speaking not only about “we, Argentines” but also allegori- cally (or not so much) about the self—a self, on the whole, complex, differing, and, as Humberto Díaz Casanueva puts it, nonidentical. On repeated occa- sions, Borges will have confessed his early fascination with Martín Fierro , and he enthusiastically promoted its reading until the end of his life. (“Promoting the reading of Martín Fierro is the objective of this short work,” he declares in the prologue to the collection of his texts that he would publish in 1979 under the very title El Martín Fierro.) Even when Ricardo Piglia “strays off topic,” he does not fail to postulate as a means of closure for Borges’s stories—and not only closure for Borges’s, but “the closure of Argentine literature, we might say” [ sic]—the closure of El gaucho Martín Fierro [cf., Ricardo Piglia, Appendix to “Sobre nombres, firmas y comarcas,” “Nuevas tesis sobre el cuento,” in Formas breves (Barcelona, 2000)]. As for whether this Borgesian allegorization of the self is ultimately subsumed by irony—for example, “unlike other peasants, the gauchos were capable” (Borges dixit)—we will allow that question to remain open. 13. Bustriazo Ortiz, Canción Rupestre , 1972, unpublished. 14. “Wo aber die Gefahr ist, wächst/Das Rettende auch” (F. Hölderlin, “Patmos”). An issue, again, in translation: “Pero donde hay peligro / crece lo que nos salva” [ But where there is danger / what saves us also grows ] (trans. F. Gorbea); “Pero, donde hay peligro / crece también lo salvador” [But, where there is danger / the savior also grows ] (J. Acevedo, in his translation of Heidegger’s The Question Concerning Technology, where he, of course, questions: “ Was heisst retten? ” That Notes ● 151

is, in Acevedo’s La Paz Romance: “¿qué se llama salvar/se?” [ What is called it to be saved? ]). 1 5 . M a r t í n G u s i n d e , Die Feuerland Indianer, vol. I (Vienna: Verlag der Internationalen Zeitschrift “Anthropos, ” 1931). 1 6 . M a r t i n G u s i n d e , Los Indios de Tierra del Fuego, ed. Werner Hoffman (Buenos Aires: Centro Argentino de Etnología Americana, 1982). 1 7 . M a r t i n G u s i n d e , Los Indios de Tierra del Fuego, ed. Werner Hoffman (Buenos Aires: Centro Argentino de Etnología Americana, 1982). 18. Bartolomé de las Casas, Brevísima Relación de la Destruición de las Indias (Sevilla: Sebastián Trujillo, 1552). 1 9 . Bartolomé de Las Casas, [1790] Kurzgefasster Bericht von der Verwuestung der westindischen Laender, trans. D. W. Andrea (Berlin: Insel Verlag, Frankfurt, 1981). 2 0 . J u a n B a u t i s t a A l b e r d i , [ 1 8 5 2 ] Bases y Puntos de Partida para la Constitución de Argentina (Buenos Aires: Plus Ultra, 2000), 82. 2 1 . M a r t i n H e i d e g g e r , ¿Qué significa pensar? trans. Haraldo Kahnemann (Nova: Buenos Aires, 1958), 32–33 [cf. Glenn Gray, 29]. Heidegger quotes throughout the essay are English translations of Kahnemann’s Spanish translation. Page numbers corresponding to an English translation [Martin Heidegger, What Is Called Thinking? trans. J. Glenn Gray (New York: Harper and Row, 1968)] appear in brackets. 2 2 . H e i d e g g e r , ¿Qué significa pensar?, 68 [cf. Glenn Gray, 66]. 2 3 . F . W . N i e t z s c h e , [ 1 8 7 8 ] Human, All Too Human , trans. R. J. Hollingdale (Cambridge: Cambridge University Press, 1996), 174. Nietzsche quotes throughout the essay have been modified to better reflect the following Spanish translation: F. W. Nietzsche, [1878] Humano, demasiado humano , trans. Luis Casanovas (Barcelona: Imprenta de F. Badia, 1905). 2 4 . N i e t z s c h e , Human, All Too Human , 175. 2 5 . N i e t z s c h e , Human, All Too Human , 175. 2 6 . H e i d e g g e r , ¿Qué significa pensar?, 33. [cf. Glenn Gray, 29, 30] 2 7 . N i e t z s c h e , Human, All Too Human , 176. 28. Jacques Derrida, “Ousia et Gramme,” in L’endurace de la Pensée (Paris: Plon, 1968). 29. “zwischen Fremd und Fremd zu unterscheiden” [ telling strangeness from strangeness ]. Paul Celan, “The Meridian” in Selected Poems and Prose of Paul Celan , trans. John Felstiner (New York: Norton, 2001), 408. 30. María Angélica Relmuán, ed., trans., El Mapuche: El Aula y la Formación Docente (La Paz: Plural, 2005), 91. 31. Pascual Coña, Lonco Pascual Coña ñi tuculpazungun : Testimonio de un cacique mapuche, 6th ed., trans. Ernesto Wilhelm de Moesbach (Santiago: Pehuén, 2000), a text dictated to Ernesto Wilhelm de Moesbach in Mapudungun, with his translation into Spanish. 32. On the whole, we can certainly agree with José Ancán (“Pascual Coña: The Man Through the Wall of Words,” Introduction to Loŋco Pascual Coña) that de 152 ● Notes

Moesbach’s Spanish translation screams for retranslation (if not, frankly, a different translation?). Not only because of the “roughness” of inscribing in a language so new (de Moesbach had recently learned Spanish), but more, because of many passages in which “the traffic of influences”—as catholic as Enlightened (in the “Preface,” de Moesbach even questions how the language of “a people of such a base culture” has been able to attain a “technical perfection so complete”)—are really not translating, or what we would call translating (≠ mirroring), anything. 33. Coña, Lonco Pascual Coña ñi tuculpazungun: Testimonio de un cacique mapuche, 275–77. 34. Rodolfo Lenz, in his prologue to the first edition of the tale by Pascual Coña ( Vida y Costumbre de los indígenas araucanos , 1929): “Some difficulties in the style of P. Ernesto [de Moesbach]’s Spanish are explained by the distinct character of the two languages [Mapudungun and Spanish]. Others owe to the translator’s native German language, as he has been in Chile only since 1920 and, living among the indigenous people, has had few opportunities to practice the literary language of elevated style” [ sic ] [ Vida y Costumbre de los indígenas araucanos (Santiago: Pehuén, 2000) 19.] 35. Lenz, Vida y Costumbre de los indígenas araucanos, 302. 3 6 . J u a n B e n i g a r , “ T a y i l ” i n Tse-Tse 15 (Buenos Aires, Argentina), November 2004, 142–45. We thank our neighbor from the palindromic town of Neuquén, Andrés Kurfirst, for pointing us to the Slovenian- Croatian peñi ’s textile, vertiginous as hallucinogenic. Cf. José Bengoa, Historia del Pueblo Mapuche (Santiago: Lom, 2000). 37. Benigar does not mince words when it comes to the academic appropriation of indigenous knowledge and property: “Cry, pathetic, erudite worm—you write with a golden pen. You know nothing of these tremendous beauties. ” With that, he proceeds to accredit his own knowledge with (his) total identification with the indian and, moreover, a secret, confided to him in his “dreams,” “divulged” to his unconscious: “I love the Indian because I have been one . . . For that reason their gods divulge their secrets to me.” Among other secrets, a couple of tayils : “The tayils, despite their transcendental nature, are not necessarily ancient. From time to time—as proven by my personal experience— a new tayil will appear that the clairvoyant head [loŋko?] teaches to his people after receiving it from his tutelary spirits in a dream [ sic ]. And why not come out and say it? I too have noted two of my own [de mi propiedad], which were dictated to me in dreams” (my emphasis). Such blind clairvoyance, such divulgence, its nonap- propriable property, is two times evident. Lo ŋko Rimbaud? “Cela m’est évident: j’assiste à l’éclosion de ma pensée: je regarde, je [qui est au coeur, bien entendu, encore un autre] l’écoute: je lance un coup d’archet [et j’en passe].” [ It is clear to me. I am present at the birth of my thought, I look at it and I listen: I draw a stroke of the bow .] 3 8 . P a u l C e l a n , Lightduress, trans. Pierre Joris (Los Angeles: Green Integer, 2005), 51. 3 9 . P a u l C e l a n , Poemas , trans. Francisco E. Hernández (Madrid: Visor, 1972). 4 0 . P a u l C e l a n , Antología poética , trans. Patricia Gola (Puebla: Universidad Autónoma de Puebla, 1987), 135. Notes ● 153

41. Paul Celan, “Todesfuge” [“Death Fugue”], trans. John Felstiner, 27–28. 42. Paul Celan, “Meridian,” trans. John Felstiner, 407. 4 3 . P a u l C e l a n , Breathturn , 271. 44. Paul Celan, “Meridian,” trans. John Felstiner, 409. 4 5 . P e t e r S z o n d i , “ E d e n ” i n Estudios sobre Celan , trans. Arnau Pons (Madrid: Trotta, 2005), and in German: Celan- Studien (Frankfurt am Main: Suhrkamp, 1972). 46. The text presents English translations of the following Spanish translations: part II, “el/señor de esta hora ( Herr dieser Stunde ) / era / una criatura de invi- erno, por / amor a él / sucedió lo que sucedió”; part III, en el interior del cráneo/ donde ( . . . ) planta él su imagen / que se acrecienta y acrecienta (pflanzt er sein Bild, / das sich entwächst, entwächst )”; part I, “ Tu sueño embestidor por la vigilia ( . . . ) el último embate que él impulsa (Der letzte Stoß, den er führt )”; next cycle: te reeducan, / / tú vuelves a ser él (sie schulen dich um , / / du wirst wieder / er ). Paul Celan, Obras Completas , trans. José Luis Reina Palazón (Madrid: Trotta Editorial, 1999). 4 7 . P a u l C e l a n , Breathturn , 271. 48. Pablo Oyarzún Robles, Entre Celan y Heidegger (Santiago: Metales Pesados, 2005). 4 9 . P a u l C e l a n , Gesammelte Werke , vol. I (Frankfurt: Suhrkamp, 1983), 261. 5 0 . P a u l C e l a n , Gesammelte Werke , vol. I (Frankfurt: Suhrkamp, 1983), 149. 5 1 . P a u l C e l a n , Gesammelte Werke , vol. II (Frankfurt: Suhrkamp, 1983), p. 245. 5 2 . P a u l C e l a n , “ M e r i d i a n , ” Gesammelte Werke , vol. III (Frankfurt: Suhrkamp, 1983), 199. 53. Paul Celan, “Meridian,” trans. John Felstiner, 409. 5 4 . P a u l C e l a n , Breathturn , 219. 5 5 . J e a n B o l l a c k , Poésie contre Poésie (Paris: Presses Universitaires de France, 2001). 5 6 . P a u l C e l a n , Obras Completas , trans. J. L. Reina Palazón (Madrid: Trotta, 1999), 308. 5 7 . P a u l C e l a n , Collected Prose , translated by Rosmarie Waldrop (New York: Routledge, 2003), 17. 58. “Wutpilger- Streifzüge,” which Celan wrote shortly after reading a German translation of La Brevísima relación de la destrucción de las Indias by Bartolomé de las Casas with a preface by H. Magnus Enzensberger. The Wutpilger (“raging pilgrims”), apart from referencing the conquerors , in my hypothesis, are Las Casas and Enzensberger themselves. My transfer: De enfurecidos peregrinos invasiones por dentros y fueras marítimos, Conquista en el más íntimo abajino cor- a zonaje (nadie descolora lo que fluye ahora).

La sal de una, aquí, sub- mergida lágrima compañera 154 ● Notes

se empeña en emerger entre luminadas rumas de bitácoras, arriba.

Ya nos destella. [Invasions of raging pilgrims through maritime ins and outs, Conquest in the most intimate lowland hear- tether. (Nobody tinges what flows now).

Salt of one, here, sub- merged companion tear tries to come between gleaming heaps of ledgers, above.

Now glints u s . ]

59. While foregoing the impulse to provide commentary and/or textual exegisis, I will not fail to emphasize, in parentheses and small letters, practically with a whisper, that the text I transcribe here (which appeared initially by the journal Diario de Poesia in Buenos Aires and later in a chapbook published by Intemperie in Santiago, Chile, because Canción rupestre remains unpublished as a book) comes with a parenthetical, below. As a sort of footnote, it stands at sufficient distance from the “body” of the poem as to be at once a part of it and not, such as is fairly common in poems by J. C. Bustriazo Ortiz. That note, an indication as well as a dating in some way, says, in parentheses: 27 and 28 / for you, mistress of / twilights . Special thanks to Sergio de Matteo for having provided me with a complete version of Canción rupestre in Santa Rosa de La Pampa. 60. How to catch this “x,” even underlined, between Bustriazo and Celan? In and beyond the figure itself: the rhetoric of the chiasm. Catch it now, the Romance wave, as a date, as a date dated to an uncommon, mixed-up encounter? Concerning Celan, concerning “the date that is Paul Celan,” of which, certainly, he un/certainly would be innately unaware, and that, precisely so that the date might be, singularly, such, as a neighbor added, years ago: “Not- knowing the date entails a forgetting inscribed in its memory. A forgetting that reminds memory that it is capable of bearing the forgetting of the date, and that moreover, that it is the memory of forgetting itself. By this thinking, a thought maybe [my emphas i s; who knows , remaining in the orbit of the will maybe to know, just like per haps , beyond the knowing and not- knowing of the date—note, too, that “beyond” is situated before and after —and, so, may be ] of the date, the loss that memory keeps also keeps memory. By this thinking, the memory of the date is the date of the memory, the very event in which memory Notes ● 155

becomes the singular, irrepeatible advent of its own forgetting. And so, this thinking does not depend on a guarantee of representation, on the operation that idealizes the date just as the body of the sign is administered. [ . . . ] By this thinking, the date is offered as a gift and as the delivery of an event that is inad- ministrable from a present, call it subject, origin, end, essence, meaning, what have you.” Iván Trujillo, “La fecha de la memoria,” in Espíritu del Valle , no. 4/5 (Santiago, 1998). 61. Double translucination, transhadowing, in Aymara and migrant Romance, of a passage from Jaime Saenz’s To Cross This Distance (1974) by Zacarías Alavi and A. Ajens. The verbonominal root muspha- , Zacarías underlines as we sip mate in front of the Huelén, suggests at once “thought,” “admiration,” “awe,” and even “affliction.” We should also highlight the amazing intra- or inter- Aymara proximity between jiwaki (“beauty”) and jiwaña (“to expire,” “to die”).

10 And/or to Live to Tell It 1 . L o r e n z o A i l l a p á n , üñumche (“birdman”) and Mapuche poet, was born in Rukatraro, near Lake Budi, Chile. In 1994, he received the Casa de las Américas Prize. 2 . Mocha, from Mapudungun, amuln , amunche : “passing through,” “traveling.”

11 Kissed Into: The Shared Today of Mapuche Letters 1 . Cartas mapuche: Siglo XIX , ed. Jorge Ojeda Pavez (Santiago: Ocho Libros, 2008). 2 . P a u l C e l a n , Le Méridien & autres proses, Édition bilingue , trad. Jean Launay (Paris: Seuil, 2002), 112–13. 3 . C a r t a s m a p u c h e : S i g l o X I X , 4 5 9 . 4. The original quoted passages are provided throughout the endnotes. “Estimado Sr, de mi mayor aprecio. Remítole la presente con el yntento de saludarlo y gualmente a su apreciable familia; mando de chasque para esa [ciudad] al cacique Milinguer, acompañado de mi hijo Manuel Pastor y otros hombres que ban en siu compañía . . . Cuando ellos regresen para esta quiero saber de que se trata / si U. ordena que haga las paces ó que abance por algun punto de la probincia de Bs. As . . . Cuando Coliqueo y mi hijo Namuncura Vinieron de esa me dijeron que uste habia dicho que no tomase de los Regalos que me mandan los de Bs. As. / todos los dias me estan insultando que soi un embustero un picaro que soi un ladron / por ese Motivo [deseo] se tomen medidas . . . yo no estoi avurrido de pelear por que siempre me estan insultando . . . si U. hizo las paces con el gobierno de Bs. As. me mandara à decir y si no las hizo me mandara decir cuando piensa tomar la ciudad de Buenos Aires . . . si manda esa Jente que bengan bien habidos de caballos por que en ésta cuando han benidos los chilenos y los [puelches] les regalamos y ese es el motivo que estan escasos estos hombres que ban / me les Regala de cada cosa un poco para que no bengan . . . por 156 ● Notes

el camino de nada . . . Por unos oficios que le mande la vez pasada que los han perdido en el camino pedia . . . me hiciera la Gracia de mandarme 2000 lleguas para cuando bengan los chilenos poderles Regalar.” Cartas mapuche: Siglo XIX, 294, 295. 5. José Manuel Zúñiga’s Spanish translation, slightly altered by the author: “[Mangiñ Wenu] Mantenía amistad con el general argentino Urquiza. Mandaba todos los años a casa de Kallfukura a recibir parte de la carne y de las yeguas que el gobierno argentino daba a este cacique. A veces viajaba él mismo a las pampas del otro lado de la cordillera (ta pireñ mew, ta arkentinu mapu mew).” Tomás Guevara and Manuel Mañkelef, [1912] Kiñe mufü trokiñche ñi piel/Historias de familias: Siglo XIX (Liwen, Temuko: Colibris, 2002), 90. 6. “Yo Amigo cuando llega el dia de dirigir carta para alguna parte o comicio- nado de palabra se me previene [liberalidad] para hacer estampar a mi Secretario el perfecto Sentido y al mismo tiempo hago explicar el origuen que se escribe para . . . y como igualmente hago la misma operación cuando dirijo comisión en el estilo de mi lengua [es decir, realizo el mismo chequeo cuando envío oral- mente mensajes en mapudungun] y así amigo le digo aUsted francamente que mi Secretario Loncochino a mi ber es un Señor Siudadano i soy muy poco sordo como para no comprender aquel idioma que se escribe / hunicamente me falta mui poco esplicar bien el idioma Castilla de los Cristianos.” Cartas mapuche: Siglo XIX , 475. 7. “Mi general, / aquí me tiene Ud. padesiendo, enfermo y con mis hijos ciegos / Luisa y Manuel que quedaron ciegos de viruela en juni[o] / la única que esta buena es Ignacia que se la edado a nuestra Madrina asta que se mudase de este Presidio Como me prometio / Yo mi General amigo estoy más para morir, pueden pedir un informe al médico / yo me siento morir al ver mi hijos tan desgrasiados y que no pueda yo darles no un pan . . . / / Si consigue mi liverta tiene un esclavo mientras biva.” Postscript: “Si a Ygnacia la edado . . . a sido por conserbar su honra y aqui es imposible porque estamos en un cuarto todos entrebesados y yo todo el dia en los trabajos.” Cartas mapuche: Siglo XIX , 781. 8. “Pues agora espero su vuena contesta de U que me mande la contestacion de palavras no en papel . . . porque es bueno que las palavras hánden pronto, pórque U ya sabe el travajo que los estan hasiendo los [cristianos] y nosotros porque no lonasimos lo mismo ” Cartas mapuche: Siglo XIX , 726.

12 On Amerindian Language and (Contemporary) Poetry: Writingsouth 1 . A l o n s o d e M o l i n a , [ 1 5 5 5 ] Vocabulario en lengua castellana y mexicana y mexicana y castellana (Mexico City: Editorial Porrúa, 1970). 2. Antonio Ruiz de Montoya, Conquista espiritual hecha por los religiosos de la Compañia de Iesús, en las Prouincias del Paraguay, Paraná, Vruguay, y Tape (Madrid: Imprenta del Reyno, 1639). 3. Lara, Jesús, Diccionario Queshwa–Castellano (Cochabamb: Los amigos del libro, 1991), 11. Notes ● 157

4. Rita Heloísa Almeida, O diretório dos índios; um projeto de civilização no Brasil do século XVIII (Brasilia: UnB, 1997), 374. 5. Almeida, O diretório dos índios, 375. 6 . J u a n B a u t i s t a A l b e r d i , [ 1 8 5 2 ] Bases y puntos de partida para la constitución de Argentina (Madrid: Linkgua Ediciones, 2009). 7. Gabriela Mistral, “Lengua española y dialectos indígenas en la América” in Gabriela anda por el mundo, ed. Roque Esteban Scarpa (Santiago: Editorial Andrés Bello, 1978). 8 . P a b l o N e r u d a , Confieso que he vivido , 6th ed. (Barcelona: Plaza & Janes Editores, 1994). 9 . E d m u n d o O ’ G o r m a n , La invención de América. Investigación acerca de la estructura histórica del nuevo mundo y del sentido de su devenir (Mexico City: Fondo de Cultura Económica, 1958). 10. Inca Garcilaso de la Vega, Comentarios reales [1609] (Porrúa: México, 2006). 11. de la Vega, Comentarios reales, 113. 12. Enrique Dussel, El Encubrimiento del Otro. Hacia el origen del “mito de la Modernidad” (Madrid: Nueva Utopia, 1992). 13. Gordon Brotherston, Book of the Fourth World: Reading the Native Americas through Their Literature (Cambridge: Cambridge University Press, 1993). 14. W. Mignolo, “La lengua, la letra, el territorio (o la crisis de los estudios literarios coloniales)” in Dispositio , 28, 29 (1986): 135–60. 15. Jorge Luis Borges, [1949] El Aleph . (Buenos Aires: Emecé, 1996), 583. 1 6 . C a r l o s M o n t e m a y o r , Los escritores indígenas actuales (Mexico: Consejo Nacional para la Cultura y las Artes, 1992). It would be unfair to cover Carlos Montemayor’s by all means interesting itinerary with a single stroke of the pen. Writer, and one of the Mexican intellectuals most active in valorizing contemporary “indigenous” textures, he claimed to establish the universality of literature in a formal definition, as “the art of the language” or “the art of composition,” whether “oral” or “written.” From there, he established paral- lels between Amerindian writing and Greek oral (prealphabetic) writing. But, given that trophicity and the “art of the word” form a part of every stage and use of a language—and therefore, the distinction between the “language of art” and “everyday language” would not be a fact so much as an event of tradition— any merely formal delimitation of literature would conceal the very condition of its possibility (its historicity). This does not mean to deny the possibilities of translation between traditions, between haravicu and poem, to reinstate the Inca Garcilaso’s terms. To the contrary, it entails a certain dwelling and even lingering in translation, on pain of obliterating the very possibility of “translation” (between nonequivalents), beyond the lation [ ducción ] of the Duce or whoever the conductor might be. Of Carlos Montemayor’s work, see also: Arte y trama en el cuento indígena (1998) and Arte y plegaria en las lenguas indígenas de México (1999). 17. Cf. Wolf Lustig, “ Tangara –‘Cosmofonía’ y emancipación estética en la nueva lírica paraguaya de expresión guaraní,” Universidad de Los Andes (Mérida, Venezuela), 2003. 158 ● Notes

18. Tragedia del fin de Atawallpa/Atau Wállpaj p’uchukakuyninpa wankan, trans. Jesús Lara (Buenos Aires: Ed. del Sol, 1989). 1 9 . K i l k u W a r a k ’ a , [ 1 9 5 2 ] Taki parwa. 22 poemas de Kilku Warak’a , trans., ed., Odi Gonzáles (Lima: Ediciones Municipalidad de Cusco y Editorial Navarrete, 2000). 20. Juan Gregorio Regino, “Otra parte de nuestra identidad,” La Jornada (Mexico City), October 13, 1998. 21. José María Arguedas, [1936] “Entre el kechwa y el castellano: la angustia del mestizo” in Indios, mestizos y señores (Lima: Horizonte, 1989). 22. Ramón R. Silva, Tangara Tangara (Asunción: Ediciones Taller, 1985). In Ñande reko y modernidad: hacia una nueva poesía en guaraní (1997), Lustig translaps the fragment. His translation, translated into English, is as follows: Noises from the tongue of man [fragment ]

Guarani. Roar pounding. Roar. Pounding. Spluttering. [ diarrhea ] Shooting. Crackling. Overturning. Blundering. Rear stammering. [ a thick liquid bubbling ]

In Guarani. Roar pounding. Quiver- din. Rattling- blow. Machine gun. Dragging- throbbing. [ cow- horn cornet ]. [ spilled water ] . ”

13 The Unheard- Of in Poetry | Today 1 . B e g i n n i n g o f a r e s p o n s e t o a n invitation to t a k e p a r t i n t h e Jornadas Internacionales Poesía y Artes de Experimentación and in the Muestra de Poesía Visual, Sonora y de Experimentación , which Silvio Mattoni and Guillermo Daghero sent me, respectively, in the name of the Department of Modern Aesthetics and Literary Criticism of the Escuela de Letras at the Universidad Nacional de Córdoba, Notes ● 159

Argentina, in early 2006. The invitation specifies the anticipated terms (“the paper should not exceed eight pages in Times New Roman,” etc.) and, from the start, speaks about the Department and/or makes the Department speak, performatively, literarily, and/or literally, unusual guaca that it is: “The Depa rtment . . . invites . . . ” extends the invitation, as a Department —without a sig- nature, name, or title other the Department’s. As such, its Chair, in an insti- tutional gesture as common as incredible, will have been omitted per haps in the name of the Department’s very name. Before addressing this dispatch, at the request of the Exhibition ’s curator, Guillermo Daghero, I had dispatched sietextiles , which, in their time, will have been fully intro/extra/jected into exhibitionary space-time. Soon after, I received another message, in which the invitation will have become a call and the position of the Department will have slightly shifted, displaced though not entirely inoperative: “The research group directed by Susana Romano Sued and the Chair [ . . . ] repeat the call for . . . ”; the Exhibition , meanwhile, its title trailing off into a kind of parenthetical sub- title, will have taken, at the request of Cecilia Placella, another, hallucinogenic, name: Xenografías. At the end of June, unable to translate myself personally into Córdoba to participate in the Jornadas, despite the generous proposal from Silvio and Cecilia that these improvisations inaugurate the event, I sent them electronically to some of the participants. 2 . P a u l C e l a n , “ D e r M e r i d i a n ” i n Gesammelte Werke , vol. 3 (Frankfurt: Suhrkamp, 1983), 197. 3 . B u s t r i a z o O r t i z , [ 1 9 8 4 ] Unca bermeja y otros poemas (Santiago: Intemperie, 2006), 29. 4. Among the notes in the draft manuscript of “Meridian”—drawn from the proximities of these very aforementioned passages—with Celan’s underlining, this appears: “Poetry, what exists ultimately in terms of binding [also das letztlich Bindende ; Bindend : “binding”, “enlacing”; as Bindewort : “conjunction”; and even Bindestrich : “hyphen,” or “trace”], is an act of liberation; to this liberation belongs [ zu dieser Freiheit gehört , belongs], if not always grace [Gnade : “mercy,” “benevolence”], at least the favorable [Gunst : “the propitious,” “fortune”]. (A term, today—but not here!—impossible, I know, let’s understand it as tukhê but, where are we when we speak of poems if not outside, in the realm of the impossible , coming into word?) [Parentheses inserted ex post by Celan.] Poems are not, in the first place, things that are written, they do not begin in the moment when they are put on paper; they are given [Geschenke : “gifts”] to the attentive.” [I translip.] 5 . L u c i o V . M a n s i l l a , [ 1 8 7 0 ] Una excursión a los indios ranqueles , vol 1 (Buenos Aires: Espasa Calpe, 1993), 52, 54. 6 . A r i s t o t l e , El arte poética [ Peri poietikés], trans. José Goya y Muniain (Madrid: Espasa- Calpe, 1948), 7th ed., 1984. 7 . A r i s t o t l e , Poética de Aristóteles , trans. V. García Yebra (Madrid: Gredos, 1992). 8 . A r i s t o t l e , Poética , ed. and trans. Juan David García Bacca (Caracas: Universidad Central de Venezuela, Ediciones de la Biblioteca, 1982). 160 ● Notes

9 . A r i s t o t l e , The Poetics of Aristotle. Aristotle in 23 Volumes, Vol. 23, trans. W.H. Fyfe (London: William Heinemann Ltd. 1932), Perseus Digital Library Edition, www.perseus.tufts.edu/hopper/text?doc=Perseus:text:1999.01.00 56. Last accessed on November 15, 2007. (The translation has been slightly modified.) 10. A complete transcription of Pachakuti Yamqui’s telling (“Relación de antiguedades deste reyno del Pirú,” 1613), although, of course, transliterated into nineteenth- century Spanish, can be found in: Pachakuti Yamqui, Tres relaciones de antiguedades peruanas (Madrid: Imprenta y Fundición de M. Tello, 1879), published by the Ministerio de Fomento “on the occasion of the Congreso de Americanistas that will be celebrated in Brussels this year.” 1 1 . J . S z e m i n s k i , Un kuraka, un dios y una historia (Jujuy: Ica/UBA/Mlal, 1987), 93–95. 12. Analyzing “the image” as “the meaning of the waka, ” Szeminski does, in short, two things. First, he intends to distinguish “the material representation of the waka ” from “the waka itself,” but he soon desists because the “representation of the wak’a ” is multiple and the “wak’a itself” is slippery as a result. Second, he compiles the “meanings” of waka and wak’a according to principal colonial and modern Quechua dictionaries. “Here they are organized” from the most essential and inclusive to the most derivative and specific, “so as to distinguish one from the other,” he says. The first “meaning,” the meaning of meanings, the one from which all the rest would derive, is strange to say the least—not a meaning in itself, but one that is more than one, and not even two but one and two at once, a first or originating meaning already divided, which Szeminski formulates as: “what is one but two at the same time, an entity composed of two complementary parts that cannot exist independently.” From here, moving down his list, he distinguishes: “hare lip,” “twin,” “split,” “crack”; “the sacred and the image of the sacred”; the origin of authority and authority inherited, and so on. Not intending to reconstruct the chain of deductions that Szeminski con- figures (something even he fails to make explicit), I’ll merely note that he himself questions it: “many of the meanings demonstrate a very strong association with the terrain or with place [ . . . ]: this makes me think that a possible meaning” [logically more originary, more essential, or inclusive] “could just as well have been ‘terrain that opens in two,’‘terrain that gives birth’ [Mamma mia!] a ‘two in one,’ but in this last case,” he adds, “the deduction of some meanings requires more time . . . ” (Szeminski, 95). Although deduction from one meaning matrix presupposes that its logically meaningful remissions share an unremitted point of origin or nucleus that serves as a unique logical generator, plainly identifiable, the point is complicated by the nonunifiable character of the proposed nucleus, if not also because the “image” under inquiry is one of the many meanings or significants of wak’a . . . It would seem that to capture the logical essence of the wak’a, one would have to erase its tracks or even its guaCa. 13. Jacques Derrida, De la grammatologie (Paris: Les Éditions de Minuit, 1967) and L’Écriture et la difference (Paris: Seuil, 1967). Notes ● 161

14. Jacques Derrida, “Che cos’è la poesia?” Poesia , I, November 11, 1988. 15. Andrés Ajens, “Petit texte: c’est chez toi que je vis, toi, l’inverse” in Actuel Marx Intervenciones 3 (Santiago, Chile), 2007. 1 6 . F e l i p e G u a m á n P o m a d e A y a l a , El primer nueva coronica y buen gobierno , 1st ed., ed. John V. Murra, Rolena Adorno, and Jorge Urioste (Mexico City: Siglo XXI, 1980), 185. 17. “[Inka Mayta Qapaq] abia mandado çiendo mençebo traer todos los ydolos y guaCas de su reyno a la ciudad del Cuzco prometiendoles que haria proçesion y fiesta general y despues de aber bisto todos los guacas y ydolos entrar los abian hecho gran burla a los mochadores de guacas haziendo con todos los ydolos y guacas çimiento de Vna cassa que para ello estaua hecho aposta y dizen que muchos ydolos y guacas se huyieron como fuegos y Vientos y otros en figura de paxaros como ayssa Villca y chinchay cocha y Vaca de los cañares y Villacan ota putina coro puna y anta puncu y choqui Vacra chanco pillo etc. y desta burla del dicho ynga dizen que toda la tierra temblaron mas que en otro tiempo de sus passados.” 1 8 . J . S z e m i n s k i , Un kuraka, un dios y una historia (Jujuy: Ica/UBA/Mial, 1987), 64. 19. Pachakuti Yamqui, Tres relaciones de antiguedades peruanas, 257. 20. J. L. Borges, “El Hacedor” [1960], in Obras completas (Buenos Aires: Emecé, 1974), 160. 21. Incalculable, unanticipated dice tossed by Zacarías Alavi Mamani, in Chuqiyapu marka (i.e., La Paz) on April 30, 2006. An intermixed-up variation, interwhelmed by Aymara, of a Romance guaCa renga .

14 How Can We Fail to Respond? 1. Thabo Mbeki, Address of the President of South Africa, Thabo Mbeki, to the Special Sitting of the Senate of the Republic of Chile: Valparaiso, June 8, 2005. 2 . Saya, from the Kikongo word nsaya, is collaborative, choral response work. It comes from the duga, or dunga, the immemorial bird dance that inaugurated, and still does in Angola to this day, West African festivals; in the Afro-Aymara Andes, it is marked by harmony among drum major, minor, gongingo, guacha, and rattles (in No insista, carajo—tra(u)ma a(u)stral , Santiago—La Paz, 2003, that gay saya , I co- mark that unusual piece of correspondence from start to finish). 3. An incidental reference; her name was tacked on to an extensive list of Russian writers: “Alexander Pushkin, Leo Tolstoy, Fyodor Dostoevsky, Maxim Gorky, Vladimir Mayakovsky, and Anna Ahkmatova.” Given that the poetry of Ahkmatova has been received by many people as a response to the horrors of Stalinism, that quick nod, just before invoking Neruda, would not be insignifi- cant. A Russian proverb: Byla ne byla ( Была не была), or: be that as it may. My gratitude to Kent Johnson, editor of Third Wave: The New Russian Poetry 162 ● Notes

and author of Lyric Poetry after Auschwitz for having reminded me of it during a night of readings, a bit rough, at the top of the Kollawara, beside the stars in the little town of Andacollo. 4 . A r t h u r R i m b a u d , A Season in Hell and The Drunken Boat , trans. Louise Varèse (New York: New Directions Publishing, 1961), 89. 5. Pablo Neruda, “Towards the Splendid City” [Hacia la ciudad espléndida], Nobel lecture, The Nobel Foundation. Stockholm. Dec. 13, 1971. 6. “Il faut être absolument moderne” [ One must be absolutely modern ]. Arthur Rimbaud, 88. 7 . A n d r é s A j e n s , La última carta de Rimbaud (Santiago: Intemperie, 1996). 8. Even though the program of the previously mentioned con-ference attached the title French poet to my name (thanks to the gracious request of Philippe Beck, an old friend and then editor of the poetry journal Quaderno in Nantes), nobody minded. Erin Mouré alias Erín Moure, super- singular poet from far- ther north, with whom I exchanged incidental gestures in Cambridge on that occasion, took account of our marked encounter at some point in third person: “Ajens and Erín Moure first met in Cambridge UK at the CCCP in 1999. They waved their arms at each other briefly beside a table of cheese, as EM didn’t know that the waving man before her spoke French, and he didn’t know she did. She didn’t speak Spanish then (and doesn’t now, really) but liked his book Más Intimas Mistura (1998) when she saw it afterward in the hands of Lisa Robertson.” 9 . V i o l e t a P a r r a , Décimas , Autobiografía en verso (Santiago: Sudamericana, 1998), 182. 10. Jacques Derrida and Hélène Cixous, Voiles (Paris: Galilée, 1998). 1 1 . G a b r i e l a L a v a r e l l o , Artistas Plásticos en el Perú , 1535- 2005 (Lima, 2005). 1 2 . C f . Boletín Municipal 1118 (Santiago, 1929). 13. Zacarias Alavi Mamani, “correspondencias,” Jacket 32 (April 2007), http:// jacketmagazine.com/32/k-corres.shtml. 14. Of course! Neither birches nor white butterflies nor bone—if we come we can say we saw them, if we don’t, we can’t—they are roads, crossroads of stars, in frost.” 15. Chus Pato. Hordes of Writing , trans. E. Moure (Exeter, UK: Shearsman, 2011).

15 Nobody in Chilean Poetry 1 . G a m a l i e l C h u r a t a , El Pez de Oro. Retablos del Laykhakuy (Cochabamba- La Paz: Canata, 1957), 506. 2 . C h u r a t a , El Pez de Oro, 396. 3 . C h u r a t a , El Pez de Oro, 478. 4 . C h u r a t a , El Pez de Oro, 10. 5. Cf. José María Arguedas, [1936] “Entre el kechwa y el castellano: la angustia del mestizo” in Indios, mestizos y señores (Lima: Horizonte, 1989). 6 . C h u r a t a , El Pez de Oro, 533. Notes ● 163

7. Patricio Marchant, “Nadie en la poesía chilena,” appendix to Sobre árboles y madres (Santiago: Sociedad Editora Leal Ltda. Ediciones Gato Murr, 1984), 285–94. 8. Marchant, “Atópicos”, “etc.,” and “indios espirituales” in P. M., Escritura y Temblor , trans. Andrés Sjens [ sic ], ed. P. Oyarzún and W. Thayer (Santiago: Cuarto Propio, 2000), 390. 9. Marchant, “Atópicos”, “etc.,” and “indios espirituales,” 408. 10. Marchant, “Atópicos”, “etc.,” and “indios espirituales,” 408–09. 11. Marchant, “Atópicos”, “etc.,” and “indios espirituales,” 404. 12. Pablo Neruda, [1950] Canto General (Caracas: Biblioteca Ayacucho, 1981), 33. 13. Vicente Huidobro, Ver y palpar (Santiago: Ercilla, 1941), 108–09. 1 4 . H u i d o b r o , Ver y palpar , 108–09. 15. Attributed to Friedrich Schlegel, “Athenäums” in Kritische und theoretische Schriften , trans. J. Skolnik (Sttutgart: Reclam, 1997), 90. 1 6 . C h u r a t a , El Pez de Oro, 506. “Y íl dansiri, hina, vieras, sin qui ti poidis rimidiar . . . ”. 1 7 . Ampara churaskta (Aymara): ampara , “hand”; churaskta , third- person present- progressive form of churaña, “to give.” Ampara echoes the Spanish verb ampa- rar : “to protect,” “to shelter.” 18. The Spanish: ampara churaskta a la otra monstrua la mano, tu mano, muestra, monstrua, al otro, al hermano la hija, tu hija, en ti, fija de antemano a la manija, seguro de vida en flor, seguro de lo inas- egurable dado, vidamuerte, uy padre, uy lengua láctea; la otra mano, ¿qué muestra ya sin mostrar—a quién?, ¿qué prodigio digital antehumano, monstruo, don de ampara? ampara churaskta, aka q’ara pampana. 19. Akax Machaq qulluti. Paul Celankiwa. Toutenoua- . . . (Of what is translated in this aguayo, practically everything has been said, about practically everything: even that it speaks of the disappointment [ decepción] of poetry: Philippe Lacoue- Labarthe, 1986, followed to a certain extent by Jacques Derrida, 1986, who later would follow in his footsteps, 1992, and, even with an additional dose of prudence, by Pablo Oyarzún, 2005, not to mention, for now, G. Gadamer, G. Steiner, or J. Bollack. Deception? Yes, of course, per haps: poetry’s detachment from the poetry in poetry. The Spanish: monteverde campsidium, cachanlagua, lo sorbo en el pozo con dado estrellado arriba, en el toldo, 164 ● Notes

en el fango—¿qué rastros sobre- venidos antes del mío?—, en tal fango, tal huella inscrita de un abra , hoy, en un apéndice decir de corazón por venir, mata silvestre, inallanada, chilca y chilca, disyuntas, lo crudo, más tarde, en camino, claro, el que nos lleva, tal antehumano, quien lo coescucha, a medio trans- hitar la trocha de luma en la pleistocena turbera, lo húmedo, m u y .

16 Sticking Your Foot in It 1 . W i l s o n B u e n o , Mar paraguayo (São Paulo: Iluminuras, 1992), Preface by Néstor Perlongher (in Portuguese translation: Sopa paraguaia ). The original preface having gone momentarily astray, the Chilean edition of the book (Santiago: Intemperie, 2001) included a translap of mine of the aforementioned Sopa (Perlongher’s text in Spanish, recovered, appeared later in an Argentine edition by Tsé- Tsé, Buenos Aires, 2005), with postcripts by Reynaldo Jiménez, Adrían Cangi, and A. Ajens, published previously by Intemperie). 2. Jacques Derrida and Hélène Cixous, Voiles (Paris: Galilée, 1998). Spanish translation by Mara Negrón: “Un verme de seda. Puntos de vista pespunteados sobre el otro velo” in Velos (Mexico City-Buenos Aires: Siglo XXI 2001). My extension on the homonymic collision of the expression Un ver à soie [ un ver : a worm, a verse, a towards, (an) inverse, etc.; à soie : of silk or, as its homonym à soi , in itself or for the self, its, etc.] appears in “Petit texte/c’est chez toi que je vis, toi, l’inverse,” in Actuel Marx 3 (Santiago: Arcis- Lom, 2005). 3. Hélène Cixous and Jacques Derrida, Veils [Voiles, Paris : Galilée, 1998 ] , trans. Geoffrey Bennington (Stanford: Stanford University Press, 2001), 49. 4 . C i x o u s a n d D e r r i d a , Veils, 54. Notes ● 165

5 . C i x o u s a n d D e r r i d a , Veils, 55. 6 . C i x o u s a n d D e r r i d a , Veils, 55. 7 . C i x o u s a n d D e r r i d a , Veils, 101. 8. Cf. Jean Bollack, “Paul Celan—Martin Heidegger, le sens d’une rencontre,” in Lignes 29, (Paris, 1996). A half- passage into migrant Spanish: “El monte de la muerte: El sentido de un encuentro entre Celan y Heidegger,” translapped by Isaac Dentrambasaguas, except for Celan’s poem, by A. Ajens. See Jean Bollack, “El monte de la muerte: El sentido de un encounter entre Celan y Heidegger,” in El espíritu del valle 4/5 (1998), 30–37. 9 . T h e S p a n i s h : alzando toldos junto al estero entre varios, con amarres antes del nombre del agua escurriendo y de fuegos y de hombres; ¿el nombre (propio), antes que invención, a coger, advenimiento que tarda?, ¿nombre, dios, propio y hombre—fluyendo, con- fluyendo por la misma comarca, misma entreabierta punta de su trama? presagio de nombres, antes de aguayos, hundiendo estacas como patas en el fango.

17 Flat-Out: A Call for Pampa Poetry 1. Bradford Cook, trans., Mallarmé: Selected Prose Poems, Essays, and Letters (Baltimore: The Johns Hopkins Press, 1956), slightly modified. 2 . P a u l C e l a n , “ T h e M e r i d i a n ” i n Selected Poems and Prose of Paul Celan , trans. John Felstiner (New York: Norton, 2001), 406. 3. Celan, “The Meridian,” 411. (Translation slightly altered.) 4 . C e l a n , “ T h e M e r i d i a n , ” 4 0 8 . 5. Translator’s note: The title of this essay in Spanish is “Poesia en pampa,” where both the geographical pampa and the expression “en pampa” are at play. Pampa (Quechua), “flat,” “unbounded.” In the Southern Cone, the expression en pampa suggests a state of exposure or nakedness, or of being “without.” Its range of meaning covers: estar/quedarse en pampa : “to be flat broke”; “to come to nothing”; “to fall through.” 6 . T i t u C u s i Y u p a n q u i , [ 1 5 7 0 ] Instrucción al Licenciado Lope García de Castro (Lima: Fondo Ed. PUCP, 1992). 7. Denise Y. Arnold, Domingo Jiménez, and Juan de Dios Yapita, Hacia un orden andino de las cosas (La Paz: Hisbol, 1998), 220. Translation (with no translation) to Spanish by A. Ajens. 8 . T h e S p a n i s h : poeta del lugar, lugar común decirlo ahora, cómo no, no ha lugar. salvo, 166 ● Notes

salvo en pampa, warawara- pampa, loco incitato, inverso, de cierto, polar arriba, ushpallajta—polvo es- telar.

Postface 1. Excessure, caesura, and exceedingness of names—and nicknames, too. Incidentally for instance: “invention” as a self- projective operation by the West (cf. E. O’Gorman, La invención de América , 1958) and, at the same time, “invention”—from Latin invenire —as advent, of the other and the alter under the name “América” (cf. J. Derrida, Psyché. Inventions de l’autre , 1987). Excessure, too, in poetry: (Western) literature or art operation (cf. W. Shakespeare, The Tempest ) and at the same time, “time” per haps more marked, samanakuti alias atemwende, after and/or beyond the pathways of art (cf. P. Celan, “Der Meridian,” 1961). And that after would be chronological only in the first meanings of “invention” and “poem.” In the other (meanings), among others, after no longer emerges in reference to History (of the West). But. It underlines the immanence—of “América.” 2 . A s f o r t h a t t u r n o f p h r a s e with any luck, see “Nobody in Chilean Poetry: An Appendix En Marchant ,” in this book . There, too, the passing occurrence of “another hand,” “shaking hands” (ampara churaskta ) in another language, Aymara.

Selected Bibliography

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Index

A b e r c r o m b i e , T h o m a s , 9 – 1 1 Atau Wallpaj p’uchukakuyninpa achachila, 3 , 1 0 wankan, 2 5 – 3 3 , 3 5 – 4 3 , 8 6 , A c o n c a g u a , 2 – 6, 1 0 4 122 , 136 A f r i c a , 2 1 , 5 9 , 1 0 7 – 1 2 Atemwende ( C e l a n ) , 5 2 , 6 5 – 7 0 see also South Africa Athenaeum, 1 2 2 Ahkmatova, Anna, 110 , 161 Autobiografía en verso ( P a r r a ) , 1 1 1 Alavi, Zacarías, 114 “Averroe’s Search” (Borges), 85 A l b e r d i , J u a n B a u t i s t a , 1 7 , 5 7 , 7 6 , 8 3 ayllu, 4 – 5 , 9 , 3 1 , 9 9 A l b ó , X a v i e r , 4 0 Aymar yarawiku ( L i m a c h i ) , 4 5 – 5 0 Alencastre, Andrés, 86 Aymara see also Warak’a, Kilku A c o n c a g u a a n d , 2 – 5 A l l e n d e , S a l v a d o r , 1 0 9 – 1 0 , 1 1 2 A m e r i n d i a n l i t e r a t u r e a n d , 8 4 A l o n s o , A m a d o , 2 8 Atau Wallpaj p’uchukakuyninpa alterfaction , 2 6 wankan, 3 0 – 3 2 a l t e r i t y , 1 1 , 4 9 , 6 7, 1 2 3 ch’alla, 9 – 1 0 A m a r u , T u p a c , 1 6 , 1 2 0 C h u s P a t o a n d , 1 1 4 A m e r i n d i a n l a n g u a g e s , 1 , 2 8 , 8 1 – 8 9 “ f l o w e r o f e x t e r m i n a t i o n ” a n d , 6 1 Ampara churaskta, 1 2 4 – 2 5 l a n g u a g e , 1 0 9 , 1 1 2 , 1 2 1 Ande en pampa, 1 3 7 pampa, 9 9 , 1 3 7 “Andean horizon,” 3 , 4 p o e t r y a n d , 1 2 1 , 1 2 3 , 1 3 5 A n d r e u c c i , R o d r i g o , 1 5 0 t r a n s l a t i o n , 3 0 – 3 2 , 9 9 – 1 0 0 A r a u c a n i a , 2 0 , 2 2 , 5 3 , 6 2 , 7 5 , 1 4 4 wanka, 3 0 – 3 2 , 4 0 , 9 6 “ A r c h a i c B a l l a d ” ( O r t i z ) , 5 1 – 5 2 , 5 4 – 5 7 , 7 1 – 7 2 , 8 8 , 9 4 , 1 3 1 B a c c a , J . D . G a r c í a , 9 8 A r g e n t i n a , 1 5 , 2 8 , 4 8, 5 3 – 5 4 , 6 1 – 6 2 , B a l d e s S a n c h e z , E l i a s , 7 6 7 6 – 7 8 , 8 5 , 1 1 3 , 1 2 7 , 1 3 6 b e l o n g i n g , 2 – 3 , 5 – 6 , 1 1 , 8 7 , 1 3 1 A r g u e d a s , J o s é M a r í a , 8 3 , 8 6 – 8 7 , 1 1 9 , see also identification 1 3 6 , 1 4 9 Benigar, Juan, 62–63 A r i s t o t l e , 8 5 , 9 5, 9 7 , 9 9 B e r t o n i o , L u d o v i c o , 3 , 5 , 9 , 3 1 , Arum, 1 2 0 – 2 1 4 0 , 4 7 – 4 8 a s s i m i l a t i o n , 2, 6 , 2 6 , 5 8 , 6 1 , 8 1 – 8 2 B e y e r s d o r f f , M a r g o t , 3 7 174 ● Index

B l a n c h o t , M a u r i c e , 8 8 , 1 4 1 C o n q u e s t , 3 6 , 4 8 , 7 9 , 8 5 , 1 1 9 , 1 2 7 , B o l i v i a , 9 , 1 5 , 2 6 , 3 6 , 3 8 – 3 9 , 4 8 , 8 6 , 1 3 5 – 3 6 100 , 109 , 122 c o n q u i s t a d o r s , 3 , 2 9 , 7 0 B o l l a c k , J e a n , 7 0 , 1 3 1 C ó r d o b a , 1 5 , 1 8 , 2 8 , 7 5 – 7 6 , 9 4 , 9 6 Book of the Fourth World C o r n e j o , L y d i a , 4 1 ( B r o t h e r s t o n ) , 8 4 C o r n e j o P o l a r , A n t o n i o , 3 7 B o r g e s , J o r g e L u i s , 5 3 – 5 4 , 8 5 , 1 0 3 , C o r t é s , H e r n á n , 2 8 , 4 7 1 4 5 , 1 5 0 “Crise de vers” (Mallarmé), 95 , 133 Breathturn (Celan), see Atemwende c r o s s b r e e d s , 1 5 – 1 8 Brotherston, Gordon, 84–85 Bueno, Wilson, 127 d e A l m a g r o , D i e g o , 3 B u e n o s A i r e s , 1 5 , 1 7 – 1 8 , 6 1 , de Alva Ixtlixochitl, Fernando, 84 75–77 , 100 d e A u g u s t a , F é l i x , 2 , 6 3 B u r g a , M a n u e l , 3 6 d e A y a l a , G u a m á n P o m a , 1 6 , 3 1 , 4 0 , 8 7 , 1 0 0 – 1 , 1 2 2 , 1 4 0 , 1 4 9 C a l f u c u r a , see Kallfukura, Juan de Balboa, Vasco Núñez, 47 C a m u s , A l b e r t , 1 1 1 d e H o l g u í n , G o n z á l e z , 3 1 Castro Morales, Josef Gil Carvajal, 112 d e l a V a n d e r a , A l o n s o C a r r i ó , 1 5 – 1 8 C e l a n , P a u l de Loyola, Martín García Oñez, 20 Archaic Ballad a n d , 7 1 – 7 2 de Lucca, Manuel, 9 “die Niemandsrose,” 51 de Mendoza Monteagudo, “ E i n m a l , ” 6 5 – 6 7 , 7 0 – 7 1 Don Juan, 145 “ I n e i n s , ” 4 9 d e M o e s b a c h , W i l h e l m , 2 – 3 , “ M e r i d i a n , ” 8 8, 1 2 9 , 1 3 5 6 0 , 6 2 – 6 4 O r t i z a n d , 5 1 – 5 2 , 7 1 – 7 2 de Molina, Alonso, 82 p o e t r y a n d , 7 5, 9 2 – 9 3 , 9 6 , 9 9 , de Montoya, Antonio Ruiz, 82 101 , 104 d e O r s ú a y V e l a , B a r t o l o m é , 2 9 , 3 5 “ T o d t n a u b e r g , ” 1 1 2 , 1 3 1 de Rosas, Juan Manuel, 76 t r a n s l a t i o n , 5 2 , 6 0 de Urquiza, Justo José, 76 see also Atemwende d e V a l d i v i a , P e d r o , 2 0 C e r v a n t e s , M i g u e l d e , 1 6 , 1 7 D e r r i d a , J a c q u e s , 5 9 , 8 4 – 8 5 , 8 8 , 1 0 1 , challas, 9 – 1 1 1 1 1 – 1 2 , 1 2 7 – 3 1 C h a y a n t a , B o l i v i a , 2 5 , 3 9 , 8 6 , 1 2 2 , 1 3 6 d e t o u r s , 2 9 , 4 7 , 6 0 – 6 5 , C h i l e , 2 – 4 , 1 4 – 1 5 , 1 9 – 2 2 , 2 6 , 4 8 , 7 7 , 6 6 , 8 1 , 1 3 0 7 9 , 1 0 8 – 1 0 , 1 1 3 – 1 4 , 1 3 1 D í a z C a s a n u e v a , H u m b e r t o , 1 0 7 , 1 1 2 , Chile, North/South dispute, 3–4 1 4 4 , 1 5 0 Chilean National Truth and Die Feuerland Indianer, 5 5 – 5 7 Reconciliation Commission, 112 die Vernichtungsblume, 5 2 C h u r a t a , G a m a l i e l , 8 7 , 1 1 7 – 2 3 , 1 2 7 Directorate Legislation on Cixous, Hélène, 130 the Administration of c o l o n i a l i s m , 1 6 – 1 7 , 3 1 , 3 5 – 3 6 , 4 0 , 5 7 , the Indians, The, 8 2 8 2, 1 1 4 D i s a s t e r a t C u r a l a b a , 2 0 c o l o n i z a t i o n , 8 1 – 8 3 , 8 7 , 1 0 9 “dual unity,” 4–5 command, 1 4 1 d u a l i t y , 1 0 C o n c o l o r c o r v o , 1 5 – 1 7 D u s s e l , E n r i q u e , 8 4 Index ● 175

D u v i o l s , P i e r r e , 3 7 G o n z á l e z , O d i , 8 6 Goya y Muniain, José, 98 “ E i n m a l ” ( C e l a n ) , 5 1 – 5 2 , G u a r a n i , 2 , 8 2 , 8 4, 8 6 – 8 8 , 1 3 8 , 1 5 8 5 4 – 5 6 , 6 5 – 7 1 G u e v a r a , T o m á s , 5 3 El Imperio Jesuítico ( L u g o n e s ) , 5 3 Gusinde, Martín, 55–56 , 131 El Lazarillo: A Guide for the Guzmán de Alfarache, 1 6 – 1 7 Inexperienced Travelers (de la Vandera), 15–18 H e i d e g g e r , M a r t i n , 5 2 , 5 7 – 5 9 , El Progreso, 5 3 6 7 , 1 3 1 “ e r a d i c a t i o n o f i d o l a t r y , ” 5 5 , 8 2 “Heights of Machu Picchu” (Neruda), Estebanillo González , 1 7 120 , 136 e t h n o p o e t i c s , 9 – 1 1 History of the Araucania Civilization Etymological Dictionary of Chilean ( G u e v a r a ) , 5 3 Words Derived from American History of the Imperial Village of Potosí Indigenous Languages (Lenz), 3 (de Orsúa y Vela), 29 , 36 e t y m o l o g i c a l d i s p u t e s , 3 , 8 5 , 1 4 1 “history of the unique,” 130 E v a n g e l i z a t i o n , 4 8 , 7 0 Hoffman, E.T., 130 e x c l u s i o n , 6 H ö l d e r l i n , F . , 5 5 , 6 7 – 6 8 extermination, 51–72 huachi, 7 3 e x t e r n a l b o r d e r s , 6 , 3 0 H u i d o b r o , V i c e n t e , 1 0 3 , 1 2 1 Huismans, Emma, 112 Facundo ( S a r m i e n t o ) , 1 8 , 5 3 – 5 5 H u m i r i , P e d r o , 4 6 – 4 7 F e r r e c c i o P o d e s t á , M a r i o , 2 2 H u s s o n , J e a n - P h i l i p p e , 2 9 – 3 1 , 3 6 – 3 7 “first Argentine,” 53–54 First New Chronicle and Good i d e n t i f i c a t i o n , 2 , 2 6 , 3 3 , 3 8 – 4 0 , Government, The ( P o m a ) , 8 7 4 2 – 4 3 , 4 5 , 5 8 – 5 9 , 8 4 – 8 5 , 1 0 8 – 9 “flower of extermination” see also belonging Archaic Ballad, 7 1 i d o l a t r y , e r a d i c a t i o n o f , 5 5 , 8 2 C e l a n a n d , 5 1 – 5 2 “I’m Explaining a Few Things” “ E i n m a l ” a n d , 6 5 – 7 1 (Neruda), 110 O r t i z a n d , 5 1 – 5 2 Iñche Paskual Koña, iñche t r a n s l a t i o n a n d , 5 2 – 5 5 , 6 0 – 6 5 konumpanieñ̈ tañi rëpu ̈, 6 0 Unserer daten, 9 3 Independence movement, South Vernichtung/Verwustung,̈ 5 5 – 6 0 A m e r i c a n c o u n t r i e s , 8 3 F r e u d , S i g m u n d , 5 2 , 6 0 , 1 3 0 indigenous literature anthologizing of, 86–87 García Yebra, V., 98–99 over view, 1–7 García-Bedoya, Carlos, 35–36 p o e t r y a n d , 8 3 – 8 4 G a r c i l a s o , 1 6 , 8 4 questions regarding, 5–7 G a r i b a y , A . M . , 8 3 I n k a M a y t a Q a p a q , 1 0 1 , 1 6 1 General Song (Neruda), 120 I n k a Y u p a n q u i , 4 , 4 8 , 1 0 1 Gift of Death, The ( D e r r i d a ) , 8 8 , 1 2 8 i n s c r i p t i o n , t r a d i t i o n s o f , 4 , 6 , 3 6 , g l o b a l i z a t i o n , 5 9 , 8 1 , 1 0 7 , 1 3 5 4 9 , 6 3 , 7 9 , 8 5 , 9 2 , 1 0 8 , Golden Fish, The ( C h u r a t a ) , 8 7 , 1 1 8 – 1 9 , 1 3 2 , 1 3 4 – 3 5 1 2 1 – 2 2 , 1 2 7 i n t e r n a l b o r d e r s , 4 , 6 , 3 0 , 8 1 176 ● Index

i n t e r n a l c o l o n i z a t i o n , 8 3 “flower of extermination” I t i e r , C é s a r , 3 6 – 4 3 a n d , 6 0 – 6 3 i n t e r n a l c o l o n i z a t i o n a n d , 8 3 J e s u i t s , 3 , 8 2 p o e t r y a n d , 7 3 , 8 4 , 1 3 5 J o y c e , J a m e s , 2 6 W e s t e r n c u l t u r e a n d , 2 0 , 2 5 , 5 3 K a f k a , F r a n z , 8 1 Mapuche Letters , 75–79 K a l l a w a y a l e n g u a g e , 3 0 Mar paraguayo , 127 K a l l f u k u r a , J u a n , 7 6 , 7 7 Marchant, Patricio, 51–52 , K e l l e n , K i t , 1 0 7 5 9 – 6 0 , 1 1 9 – 2 1 “Key, The” (Neruda), 110 M a r i á t e q u i , J . C . , 8 3 K i n g C a r l o s I I I , 8 2 Marquis of Pombal, 82 Kordic, Raïssa, 19 Martín García, 78–79 Krog, Antjie, 112 Massone, M., 3 K ’ u l t a , 9 – 1 0 , 1 0 4 , 1 3 6 M a y o r g a , C é s a r G u a r d i a , 3 9 Mazateca, 2 La Guerra de Chile , 1 9 M b e k i , T h a b o , 1 0 8 – 1 0 , 1 1 2 L a g o s , R i c a r d o , 1 0 9 – 1 0 M d a , Z a k e s , 1 1 2 L a m p a , 4 – 5 M e d i n a , J o s é T o r i b i o , 1 9 L a p e s a , R a f a e l , 2 8 M e l i à , B . , 8 3 L a r a , J e s ú s , 5 , 2 9 – 3 3 , 3 6 – 4 0 , 8 2 – 8 3 , 8 6 Memories of Provincial Life L a y m e , X a v i e r , 4 0 ( S a r m i e n t o ) , 5 4 Lazarillo de Tormes , 1 7 memory pathways, 9 L e n z , R o d o l f o , 2 – 3 , 6 2 “ M e r i d i a n ” ( C e l a n ) , 6 0, 7 5 , 8 8 , 9 2 – 9 3 , L e ó n - P o r t i l l a , M . , 8 3 1 2 9 , 1 3 5 L i m a c h i , R u f i n o P h a x i , 4 5 , 8 4 mestizos, 8 4 , 8 7 , 1 1 8 – 2 1 litera dura indígena, 1 – 2 , 5 – 7 M e x i c o , 1 6 , 1 8 , 8 2 , 8 4 , 8 6 , 1 0 1 discussion of, 6 M i g n o l o , W a l t e r , 8 5 status of, 5–6 m i m e s i s , 2 5 , 8 5 , 9 5 , 9 7 – 9 8 tinku, 6 – 7 M i s t r a l , G a b r i e l a , 1 3 – 1 4 , 5 2 , 5 5 , t r a n s l a t i o n , 6 5 9 , 8 3 , 1 1 9 – 2 0 , 1 4 0 , 1 4 4 see also indigenous literature misture , 1 6 , 4 9 , 8 7 , 1 1 8 loŋko, 2 0 – 2 1 Montemayor, Carlos, 157 L u g o n e s , L e o p o l d o , 5 3 Montes, Fernando, 5 L u s t i g , W o l f , 8 6 m o r a l , 7 4 Moreno, Gabriel René, 29 Magellan, Ferdinand, 25–27 M a l l a r m é , S t é p h a n e , 1 4 , 6 0 , 6 7 , 9 5 , “national cadence,” 134 1 3 3 – 3 5 N e r u d a , P a b l o , 1 7 , 6 4 , 8 3 , Mandela, Nelson, 110 , 112 1 0 8 – 1 1 , 1 1 9 – 2 0, Mansilla, Lucio V., 96 1 2 3 , 1 3 6 mapu dëŋun , 6 1 Niemeyer, Hans, 3 M a p u c h e N i e t z s c h e , F r i e d r i c h , 5 7 – 5 9 A c o n c a g u a a n d , 2 – 4 N ú ñ e z , L a u t a r o , 3 C h i l e a n d , 1 0 9 – 1 0 Núñez de Balboa, Vasco, 47 Index ● 177

O ’ G o r m a n , E d m u n d o , 8 3 – 8 4 r e m e m b e r i n g , 6 1 On Trees and Mothers (Marchant), R i m b a u d , A r t h u r , 1 0 8 , 1 1 0 – 1 1 , 1 3 3 5 1 , 1 1 9 Rinconete y Cortadillo , 1 7 o r a l i t y , 6 , 9, 7 3, 7 8, 8 4 – 8 5 , 9 5 , 1 3 5 R o m a n c e l a n g u a g e s , 1 , 2 8 – 2 9 , 6 4 – 6 5 , see also written language 9 4 , 1 0 3 O r t i z , J u a n C a r l o s B u s t r i a z o , 5 1 – 5 2 , R o m a n t i c i s m , 5 1 , 7 0 , 7 4, 8 6 , 5 4 , 7 1 , 8 8 , 9 3 , 9 7, 1 3 1 , 1 3 6 , 1 3 8 1 1 4 , 1 1 8 , 1 2 2 O y a r z ú n R o b l e s , P a b l o , 5 2 , 6 8 – 6 9 Royal Commentaries ( G a r c i l a s o ) , 8 4 Rulpaŋe nutram,̈ 6 2 pacha , 3 7 , 4 6 – 4 8, 1 0 2 pachakuti , 3 7 , 4 7 – 4 9 S a e n z , J a i m e , 1 3 6 P a c h a k u t i Y a m q u i , 9 1 , 1 0 0 – 3 , 1 2 2 S a e n z , J o s é D o l o r e s , 7 5 pardo libre , 1 1 2 – 1 4 Sanchez, Elias Baldes, 76 P a r r a , V i o l e t a , 7 5 , 1 1 1 Sánchez, R., 3 “Pathways of Memory in a Colonized Sarmiento, Domingo Faustino, 4 , Cosmos” (Abercrombie), 9 1 7 – 1 8 , 5 3 – 5 4 , 5 7 , 7 6 , Pato, Chus, 107 , 114 , 117 7 8 , 8 3 , 9 4 , 1 3 1 P a v é z , J o r g e , 7 6, 7 7 , 1 4 2 Sayweke, Valentín, 77 , 79 P e r l o n g h e r , N é s t o r , 1 2 7 – 2 8 S c h l e g e l , F r i e d r i c h , 1 2 2 P e r u , 1 6 , 2 0 , 3 6 , 3 9 , 4 8 , 1 1 3 – 1 4 S e l k ’ n a m , 5 6 , 5 9 P i g a f e t t a , A n t o n i o , 2 5 – 2 7 , 1 4 5 S e p a l m a , S i p h o , 1 1 2 P i z a r r o , F r a n c i s c o , 2 9 , 3 8 , 4 7 , 1 3 6 – 3 7 s e x u a l i t y , 5 , 1 1 , 1 4 5 P o e , E d g a r A l l a n , 3 5 S h a k e s p e a r e , W i l l i a m , 6 2 p o e t i c s , 6 , 9 7 – 9 9 , 1 3 4 – 3 5 Silva, Ramón R., 87 Poetics ( A r i s t o t l e ) , 9 7 – 9 9 , 1 3 4 s o n g s , 3 1 – 3 2 , 4 0 , 4 5 , 6 2 – 6 4 , 6 8 , “Poetry of Response,” 107 , 114 7 3 , 9 7 – 9 8 , 1 2 0 , 1 3 6 P u q u i n a l a n g u a g e , 3 0 S o u t h A f r i c a , 1 1 0 – 1 2 , 1 1 4 puruma auqa , 4 see also A f r i c a “Spanish Language and Indigenous Quechua Dialects in America, The” A c o n c a g u a a n d , 2 – 5 ( M i s t r a l ) , 1 3 A y m a r a a n d , 4 5 , 4 8, 6 1 s p a t i o t e m p o r a l i t y , 4 7 , 1 3 6 l a n g u a g e a n d , 1 3 – 1 4 , 1 3 6 , 1 3 8 , 1 4 4 see also temporality p o e t r y a n d , 8 6, 9 6 , 9 9 – 1 0 2 , Spiritual Conquest of Paraguay, The 123 , 141 (de Montoya), 82 S p a n i s h a n d , 1 1 9 – 2 1 “ s t i c k i n g y o u r f o o t i n i t , ” 1 2 7 – 3 1 t r a n s l a t i n g a n d , 8 4 , 1 3 6 “Stockholm Speech” (Neruda), 110 see also Atau Wallpaj Stolen, The [la Robada] , 1 6 , 1 8 p’uchukakuyninpa wankan S z e m i n s k i , J a n , 1 0 0, 1 0 2 , 1 6 0 Q u e v e d o , 1 6 , 1 7 Quispe, Lucia, 137 tayils , 62–65 , 152 technopoetics, 135 r e c a l l i n g , 6 1 – 6 2 T e h u e l c h e , 2 5 , 2 7 , 6 2 – 6 3 , 8 4 R e c h e , 7 7 Telling of the Antiquity of This Kingdom Regino, Juan Gregorio, 86–87 of Piru, The , 100 , 122 178 ● Index

t e m p o r a l i t y , 4 7 – 4 9 , 8 5 , 1 3 6 t r i n a c r i a s y m b o l s , 4 , 6 tinku , 5 – 7 , 1 2 3 , 1 4 1 , 1 4 4 Trujillo, Iván, 142 To Cross This Distance (Saenz), 1 7 , 1 3 6 ül, 6 3 , 6 5 , 6 8 , 7 3 , 8 1 , 8 4 “ T o d t n a u b e r g ” ( C e l a n ) , 5 2, 1 1 2 , 1 3 1 Ulysses ( J o y c e ) , 2 6 , 1 4 0 t r a n s f e r e n c e , 2 9 , 5 2 , 6 6 , 1 0 3 , 1 2 9 – 3 1 una data data, 9 4 translation U n i v e r s a l L i t e r a t u r e , 8 4 achachila, 1 0 u n i v e r s a l i t y , 6 , 8 1 , 8 4 – 8 5 , 1 0 3 , 1 2 2 , A m e r i n d i a n p o e t r y a n d , 8 3 – 8 6 , 1 3 4 – 3 5 , 1 5 7 9 7 – 1 0 3 unserer daten, 9 3 Ampara churaskta, 1 2 4 Ande en pampa, 1 3 7 V a l l e j o , C é s a r , 8 7 – 8 8, 1 3 6 “Archaic Ballad” and, 52–55 Vernichtung/Verwüstung, 5 5 – 6 0 Atau Wallpaj p’uchukakuyninpa Voz de Arauco: Explanation of the wankan, 2 9 – 3 3 , 3 6 , 3 7, 1 3 6 Indigenous Names of Chile C h u s P a t o a n d , 1 1 4 (de Moesbach), 2 command, 1 4 1 D e r r i d a a n d , 1 1 2 W a c h t e l , N a t h a n , 3 7 “ E i n m a l ” a n d , 6 5 – 7 0 waka, (wak’a, guaca) , 9 6 , 1 0 0 – 3, 1 6 0 H u m i r i a n d , 4 6 – 4 7 wankay, 4 0 Iñche Paskual Koña, iñche W a r a k ’ a , K i l k u , 8 6 , 1 2 2 konü mpanieñ tañi rëpü , 6 0 welu kimlafin ni chem pin, 6 3 – 6 5 indigenous literature and, 6 Wenu, Juan Mangiñ, 77 I t i e r a n d , 3 7 , 4 1 – 4 3 What Is Called Thinking, 5 7 , 5 9 Mallarmé and, 133 winka , 4, 6 0 “ M a p u c h e L e t t e r s ” a n d , 7 7 W o r l d W a r I I , 5 2 , 5 7 “ M e r i d i a n ” a n d , 9 2 Writing of the Disaster, The “Murders in the Rue Morgue” (Blanchot), 88 a n d , 4 2 Writingsouth , 81–89 N e r u d a a n d , 1 0 9 , 1 2 1 w r i t t e n l a n g u a g e , 9 , 1 3 , 1 9 – 2 0 , 3 1 , “Poetry of Response” and, 107 3 6 – 3 8 , 5 4 , 7 3 , 7 5 , 9 5 , 1 2 0 – 2 1 r e c a l l i n g , 6 1 see also orality Rulpaŋe nutram,̈ 6 2 S a r m i e n t o a n d , 5 7 yanani surti , 10–11 , 136 “ s t i c k i n g y o u r f o o t i n i t , ” 1 2 7 – 3 1 Y a s u s a d a , A r a k i , 7 2 tinku, 5 Y e b r a , V . G a r c í a , 9 8 Vernichtung/Verwüstung, 5 5 – 6 0 Y u p a n q u i , I n k a , 4 , 4 8 , 1 0 1 wankay, 4 0 Yupanqui, Titu Cusi, 137 welu kimlafin ni chem pin, 6 3 – 6 5 Z ú ñ i g a a n d , 7 7 zoon politikon , 107 , 110 , 115 Trilce ( V a l l e j o ) , 1 7 , 8 7 Z ú ñ i g a , J o s é M a n u e l , 7 7 , 1 5 6