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INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 9427798 Intertextuality in the poetry of Pedro Shimose Sisson, Michael Drew, Ph.D. The Ohio State University, 1994 Copyright ©1994 by Sisson, Michael Drew. All rights reserved. UMI 300 N. ZeebRd. Ann Arbor, MI 48106 INTERTEXTUALITY IN THE POETRY OF PEDRO SHIMOSE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Michael Drew Sisson, B.S., M.A. ***** The Ohio State University 1994 Dissertation Committee Approved by Jaime A. Giordano Maureen Ahern Ben A. Heller Advisei Department of Spanish Stephen J. Summerhill and Portuguese Copyright by Michael Drew Sisson 1994 My Parents ACKNOWLEDGMENTS I wish to express my appreciation to Prof. Jaime A. Giordano for his gentle guidance and kind encouragement throughout the research and writing process. I am grateful too to Prof. Stephen J. Summerhill, for his many years of unflagging support and faith in my work, and to the other members of my dissertation committee, Profs. Maureen Ahern and Ben A. Heller, for their careful reading and valuable suggestions. I owe a huge debt of gratitude to Prof. Grinor Rojo, who first started me on the path that has led, at last, to this work. To Pedro Shimose I offer my sincere appeciation for his warm and candid correspondence. In addition, thanks are due to Bruce McNamara and Daria Walsh for the invaluable technical assistance they so patiently provided. Finally, no words would be adequate to express my gratitude to my wife, Jean McNamara, without whose understanding and constant optimism this project could not have come to fruition, and to my children, Andrew and Thomas, who adapted with a maturity beyond their years to the demands of my work. VITA November 30, 1955 Born - Columbus, Ohio 1979 B.S.Agr., The Ohio State University, Columbus, Ohio 1982 M.A. in Spanish, The Ohio State University, Columbus, Ohio PUBLICATIONS Sisson, Michael, trans. Reflexiones maquiav^licas / Machiavellian Reflections. By Pedro Shimose. Madrid: Editorial Verbum, 1992. Sisson, Michael and Michael Vander Does, inca Blues. Poems and Translations from the Ja2 z Poetry Ensemble. Columbus, Ohio: Pome Tones Press, 1991. FIELDS OF STUDY Major Field: Spanish Minor Field: French Studies in Linguistics TABLE OF CONTENTS DEDICATION................................................ii ACKNOWLEDGMENTS........................................ iii VITA ...................................................... iv LIST OF ABBREVIATIONS................................. vii CHAPTER PAGE I. INTRODUCTION ....................................... 1 Pedro Shimose ................................... l Dialogue and Intertextuality ................. 6 Intertextuality and Poetry ................... 27 S u m m a r y ........................................ 45 II. INTERTEXTUALITY IN CONTEMPORARY SPANISH-AMERICAN POETRY: FOUR P O E T S ................................. 57 Introduction .................................. 57 Ernesto Cardenal ............................. 61 Juan Gelman .................................... 72 Josd Emilio Pacheco ............................82 Antonio Cisneros ............................. 95 Conclusions................................... 102 III. PRELUDE TO EXILE: INTERTEXTUALITY IN SHIMOSE'S EARLY POETRY .................................... 118 Introduction ............................... 118 Triludio en el exilio .........................119 S a r d o n i a ...................................... 126 Poemas para un pueblo .........................135 Conclusions................................... 147 v IV. EXILE AND INTERTEXTUALITY: SHIMOSE'S POETRY IN TRANSITION....................................... 155 Introduction ............................... 155 Ouiero escribir pero me sale e s p u m a .......... 157 Caducidad del f u e g o ...........................182 Conclusions................................... 194 V. DIALOGUE AND STRUCTURE: INTERTEXTUALITY IN REFLEXIONES MAOUIAVELICAS ..................... 203 Introduction: Structural Principles ........ 203 Intertextual Dialogue ....................... 224 Conclusions................................... 275 VI. CONCLUSION: THE CLOSING OF THE CIRCLE: .... 297 Introduction ............................... 297 Bolero de caballeria ....................... 298 Poemas: General Conclusions................... 311 BIBLIOGRAPHY .......................................... 321 vi LIST OF ABBREVIATIONS AP A1 pie de la letra BC Bolero de caballerla CF Caducidad del fuego PP Poemas para un pueblo OE Ouiero escribir pero me sale espuma RM Reflexiones maquiavelicas TE Triludio en el exilio vii CHAPTER I INTRODUCTION Pedro Shimose Pedro Shimose Kawamura is the pre-eminent Bolivian poet of his generation, although he has not lived in Bolivia since 1971. His career as a writer has taken him from the obscurity of a provincial childhood in rural Amazonia to a prominent place in Bolivian national cultural life, and from there to exile in Spain. In exile his reputation has grown to international proportions, as a result of winning the Casa de las Americas Prize in 1972 for his book Ouiero escribir pero me sale espuma. In the 1970s his have poems appeared in major international anthologies such as Robert Marquez' Latin American Revolutionary Poetry/Poesia revolucionaria hispanoamericana (1974) and Stefan Baciu's Poesia hispanoamericana: 1950-1970 (1974). For more than thirty years now Shimose has produced a steady output of writing which includes short stories and criticism in addition to his nine (as of this writing) books of poetry. His most recent collection, Poemas (1988), contains virtually all of his previously published poetry, and it is 1 2 this edition which will be referred to, unless otherwise noted, in the present study. The critical bibliography on Shimose is relatively small, considering the importance of his work. One reason for this is the fact that critics outside Bolivia have historically tended to neglect Bolivian literature in general, and contemporary Bolivian poetry in particular. In his survey of poetry anthologies, conducted in the mid- 1970s, Robert Pring-Mill noted that Bolivian poetry had been poorly served in relation to the level of poetic activity he had personally found there during his visit: "Bolivia is... a rather special case, perhaps because of its relative remoteness and the poor distribution of Bolivian books abroad: it was the sole producer of committed poetry out of the fifteen countries visited on the field-trip to be drastically under-represented in the sample."1 in the same article he refers to Shimose as "a brilliant and also highly interesting poet" notable for his "sophistication of technique."2 In the 1980s the critical landscape improved somewhat with the appearance in Europe and North America of several excellent publications on contemporary Bolivian literature,3 but there is still a dearth of criticism on Shimose, a gap it is hoped this study will help to remedy. There has been only one book-length study devoted entirely to Shimose*s work: Cesar Chcivez Taborga's Shimose: 3 Poeta en 4 estaciones. Published in 1974, it covers only the first four volumes of poetry, yet as its title suggests, this book already emphasizes the diversity and heterogeneity of Shimose's writing. From the same period is Jose Ortega's essay, "El mundo poetico de Pedro Shimose" (1973), which focuses on the constants in Shimose's poetry, his social commitment and the presence of the Latin American historical process in his writing, as well as his evolution from the "mythical-religious" mode of his early works to a more direct protest against the conditions of cultural alienation in the late 1960s.4 Eduardo Mitre concurs with Ortega that social commitment is a constant in Shimose's otherwise remarkably diverse oeuvre. In "Del fervor al escepticismo. Sobre la poesia de Pedro Shimose" (1983), an article which summarizes two decades of the poet's evolution, he writes: "Desde Triludio en el exilio (1961) su libro inicial, hasta el reciente

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