Sunday, January 11, 2015

BEFORE WAKING, For My Brother

--for my brother, Jose Luis

Moonlight caressed the bars of the prison cell. And, suspended, at a distance, was a music which was no music but merely the echo of the wind, the echo of a grievous loneliness, an echo that overflowed with cries of animals and earthly groans...; the iron bars, unyielding and unchanging, prevented him from enjoying the vital beauty of nature.
     His eyes, as ecstatic as those bars, looked at the moon projecting a soul so large it made the moon its prisoner.
     Outside of his cell, within his dungeon, his solitude wove together the sounds of distant steps on the marsh, over the tall walls that shut the sky out of the prison, while the soldier paced back and forth, scattering the rays of moonlight, the sharp edge of the bayonet rose over his shoulder in silhouette.
     Was it after midnight?  Perhaps not. For the night does not run its course for a prisoner, it prolongs itself like a shadow that slips ever farther from the light. The night never ends as the cold bars of the prison like iron hands strangle him: The night in his empty, lugubrious cell, has no end. Why would it come to an end if a day is but another long, long night? 
     --The night never ends....It will never end...--but the prisoner felt that caressing the bars, he caressed the moon. The night felt like a cold rail he didn't want to release.  He grasped onto the bars.
     --When night is over, they will arrive...--he told himself--. The day will never again begin for me. They'll arrive before dawn.  They'll murder me!  And for what? Yet, I know this. I also know that they will come for me.
     --They will come....they will come....they will come...--he said to himself as the echoes of each memorized word ricocheted within him. And when he no longer thought of the words, the sound of their echo pounded from their final syllables..., repeating them mechanically, with more and more power, like the heart appears to palpitate faster and faster when the breath is suspended and the air that was withheld at last is exhausted.
     --Well, why shouldn't they come?--the prisoner asked himself mutely before the moon--Let them come.
     --Let them come..., let them come..., let them come...., let them cooooomeeee!  Come onnnnnn! his conscience echoed each time stronger, until it voiced a long and screeching scream.  

Tuesday, January 6, 2015

POISON

Maria Luisa Bolbito waited desperately. Her cavernous dead eyes whose pupils glowed brilliantly incandescent from the light of the ocotero branches shone over the ranch. She looked anxiously toward the entry.

A MAN WHO CAN'T SLEEP

Let a person sleep... I repeat to them: only sleep can console me. Do you understand? So I'm not about to listen to them...The night pinches their tongues into talking.
     Loss of sleep is getting to me. I'm sick of the hallucinations. It's true..., the pain comes to mind.... Those pains the soul can't forget. On the other hand, in sleep I'm completely different. I go to the laughing sea, where all weeping ends. I simply silence them. I want to have a peaceful evening. Amid the blind serenity that restores us. No explanation is necessary. Everything makes sense. At the church where I went for my pain, it was clear to everyone. I hid it from no one. You saved me it's true but you all don't need to remind me of it. I have sufficiently expressed my appreciation.

SILENT SIGHT

"Who is it?," I asked. "A man" they said, "is looking for you." It seemed since no one comes to see me. But I said, "I'm coming." I opened my eyes, put on my clothes and went out to the hallway. The man had vanished. Not knowing what to do I clasped my hands around my chin and began calling him. "Hey, Mr. So-and-So Where'd you go?" Not even a bunch of chickens on the back patio digging for scratch in the flower bed answered me back. The silence frightened me, and my anguish caused me to search for him under the table, chairs and trees, in nooks and under rocks, too. Who would've believed it? The man had disappeared.
     

Monday, January 5, 2015

TIMELY VISITORS

He entered yawning a dream. In the obscurity of the open entryway, darkness reigned long before the night fell.  All vestiges of light disappeared leaving behind the only indent from which to the see the world through dream. But within it, in its chasm, there was not even an indentation but to look for the matches.

MISERY FOR HAPPINESS

--happiness is not meant for the sufferer, JMLV, "La Vida Rota"

pouty beautiful enraged sinews, soul,
said the young poet to the silence's howl,
its ever arboring returned echoes
make a sound as though harnessing fulcrums
torrents of avenues throb into forms
chasing them through their burrowing flower
nested in the groundswell, born to be thorn,
full stinging nettles fingernails crown
the blade turning spindle woven by dreams
is the smallest hour spent only to grow
and for no other reason life broken
without purpose is thrashed splintering bone,
mercy was not made for kindness of heart
and happiness lost on the miserable

THE CROSSES ON THE CRAG

The Crosses would never be a good place. Here, all have died...They wander without life...wandering...wandering... they wander in their sleep, dreaming the incessant dream of lost sleep... Even in the villages, their heads away from here, lost in the illusion of new lands...
     --They even lack faith. No seriously, they live gone... They fade into dreams....they rarely smile and only when alone..their eyelids wide open their eyes shut tight.
    --It's true they can't see...And besides that there's nothing in The Crosses

SPIRITS

Since I've arrived from the other side, pale as the light of the moon, a child came near, not even very tall, impeccably radiant white shirt and white pants crossed in the center as is custom. She saw him arrive and well noted that he dragged his sandals, but while he never identified himself, she recognized her brother, Crispin, gone away for years, and of whom they hadn't heard anything in so long they considered him dead. For that reason, seeing him and screaming with joy was all in one. Later, after calming herself, she greeted him:

     --Good evening, Crispin. What brings you here at this hour?
     --Is it you, Pilar? Good evening. I'm here to visit Tata Bonifacio.
     --Solely for that, brother?
     --Exclusively for that; poor man he died seven years ago.
     Crispin went still, crossed his arms and looked at her smiling happily.
     Pilar also looked. The cemetery was sadly at rest. Rotting wood crosses cast morose shadows about them.
     After a brief pause, he asked:
     "How long have you been here, Pilar?"

MY SON WAS BORN DEAD

I don't know why my son was born dead. When I so wished him to live he arrived dead. Maybe he sensed my poverty or my poverty killed him. You should've seen me dancing before his birth! It even seemed he too danced when he felt me near! Touching his ear, I pestered him with caresses of both hands. He stretched with joy. He kicked from the womb of my beloved Candelaria as though leaping through the walls of his own home...But now as you see, he was stillborn and his pain is my pain. It's why I've been getting drunk since the Fiesta of San Isidro. I also want to die. For I lived to feel his kicks and he turned me good. Ask the people passing about what's been happening. Everyone will remark of me. They would certainly tell you that Cirilo Corazon was good from early on, and that he wished for a child. But as you can see, my son has died and died without a birth. And, this is far worse than if I had died. I think, see, that children are the fresh shoots of life; they spring from the branches of a life full of suffering; we must return so we can continue living.  Maldicion! But when before the birth of our offshoots is truncated... See, look, it is no joke. Death really does kill.
     My dear Candelaria said it:  "I'm giving birth to death. Cold death licks me with cold flames."  Poor dear, she could not have imagined it. She would just laugh when I played with our son. Awaiting only that he grow up amid the squash crops. Believe me. The sun is witness to the dream that we weave on the ranch while listening to the chirping of birds in the orange trees. But now you see yourself, happiness was not meant for those who suffer. 
     The day we married, everything was flowering. Even the smile of my Candelaria was scented with Jacaranda. She was so pretty that heart burned to see her eyes. "Now, we will bring a child to life," I whispered to her secretly as we left the church. "Now, yes," she said to me. With her words spoken, "I felt my blood running inside of me as though I were a mountain,  because when it rains water falls from the mountain's slopes like I myself fell at that moment.
     "Look, Cirilo,-- Timoteo, my great uncle told me--. When the white specks in a woman's eyes are tenderly blue as water, as Candelaria has in the soft of her eyes, then she is a pure woman." And it's true, in my Candelaria's black pupils there was a sweet honey color.  But... Now what? What's she going to do now? I guess he hasn't noticed that my Candelaria's eyes have shut forever. She can't see due to having given birth to death and not life.... She doesn't see since.
     Since then I'm no good. Liquor soothes my heart, but I've gone bad now. I don't work or sleep; I just want to die.
     That's why I get drunk along with the moon and the sun, without closing my eyes, so as not to see what is inside of all this pain....Ah, if my son Damian (I planned to name his Damian), if he had been born things would be different.  We'd walk hand in hand, pulling seed from the earth or watching white and black clouds in the sky. Then I'd be dying of happiness, more alive than ever, well, above all, I'd have hope in hand. Ah! Cursed was the day I lost the will to live! This is what I had to say to San Isidro. "What's wrong?  What were you thinking by bringing me a flood of tears instead of water? You know very well that the water of tears can only be harvested from great pains. You know that tears only nourish thorns even on sweet soil." This is why I no longer like San Isidro, el labrador. I may be mistaken.  He may not be to blame, but I no longer care for him. You too would do it. I know because poverty has taught me that there is no greater rage than to have been born of one's pain. And my Candelaria knew it before her death and I also know it before my own death: when life grows black, so black that it can never again be made white even with rose detergent, you are disgraced, betrayed and eventually killed by it. Say what you like but this is how it is to be disgraced by God...

The nurse leaned over the patient to take his pulse.
     --Why does this crazy one speak so much, doctor?
     The doctor glanced strangely, straightened his glasses and smiled indifferently:
     --It surprises me you don't know. That's how the insane behave when their reasoning returns to them...., they would prefer to die.



THE MISFORTUNE AND PAIN OF MY CHILDHOOD, LOPEZ VALDIZON

INTRODUCTION TO BROKEN LIFE: GUISELA LOPEZ

                                          
                                         Life is renewed by the turning of a blade;
Light is the disintegration of what dies;
Tomorrow emerges from the ashes of the past.
JOSE MARIA LOPEZ VALDIZON

To make contact with a work of art is to make contact with the artist's creative vision, facing its beauty through the trajectory of the author and their context. Broken Life enables us to gain entrance to a literary pursuit that is not limited to aesthetic values, which openly recognizes literature is not neutral and renounces the proverbial expression, "art for art's sake." The exercise of creation assumes a political identity and an ethical position and works toward a goal of creating a fictional narrative that seeks truth. Jose Maria Lopez Valdizon conceives of literature as a possibility of transforming reality and making a commitment. A commitment consigned in a life of art. A commitment that illuminates lost sleep, encompasses exile, brings words to life and relief to its characters.

His literary exertions were forged in the democratic dawnings of the October Revolution--and as one of the youth of Saker Ti--he becomes a political actor in a moment of enormous historical stakes filled with profound social transformations and great political expectations.

He is conducted toward collective aspirations, responding to revolutionary principles generating new spaces of expression for youth, and attempting to give voice to and participate among the largest majority traditionally excluded from political discussion and aesthetic enjoyment.

In the dedication to Sudor y protesta, his first short story collection, he writes, "For those of the city and the countryside who bear the weight of exploitation and suffer the vile degradation of an unjust social system...To the Indigenous, the miserable and all the beings who shared in the misfortune and pain of my childhood."

This commitment provokes him to take up the reality of his broken nation, structured on the complete dismissal of ruralities, isolated by economic precariousness, ritualized in ethnic discrimination and established through disaffection, yet also enlivened by love and faith in life.

From the point of view of his writing, and with a focal point 
that crosses multiple dimensions, thematic progression is inscribed within his preoccupation for the recreation of contexts and circumstances ordering the lives of persons from the most marginalized populations of Guatemala, principally the Indigenous and campesino sectors. The discursive style of his work is strengthened by a simple, direct, and quotidian language enriched with vernacular idioms and popular verbal expressions.  In the depiction of his characters, he develops archetypes so real as to equate with the "reality" they wish to share with us, from their deepest sorrows and through their very dreams.

JOSE MARIA LOPEZ VALDIZON: HISPANIC AMERICAN PRIZE FOR THE SHORT STORY La Habana, Cuba 1960


Born in Rabinal (Baja Verapaz) on June 14, 1929. He traveled through diverse regions while undertaking work in agriculture, production of artisanal products, and business of various sorts; he later became a teacher after enrolling in the Normal School in the capital. In this manner he learned a great deal and committed himself to the understanding of the social problems he promulgated in his literary works.

He initiated his vocation as an author in 1949, publishing short stories and poetry. At the same time, he founded the newspaper Surco Nuevo (1949), the journal Uleu (1950), the monthly Saker-Ti (1953), the magazine Presencia (1958), and other publications.  In 1959 he propelled his third epic with Revista de Guatemala as its director.

He was Secretary General of Saker-Ti. a youth art and literary group. In 1954, he went into exile in Ecuador, returned to Guatemala near the end of 1956, and founded UDEAG, a union of Guatemalan artists and authors.  He traveled to the United States, Central and South America, and Europe and Asia. For a time, he circulated in Mexico.

He was kidnapped and killed in 1975. At the intersection of 3rd Street and 3rd Avenue downtown, the writer was beaten, forced into a police jeep, and became another name added to the large list of artists and intellectuals assassinated in those times. The Kjell Eugenio Laugerud government denied capture.

He published Rabinal (a monograph), Revista de Guatemala, 1951, Minister of Education Editions, 1953; La Carta (stories and tales), Ediciones UDEAG, 1958; and La Vida Rota, Ediciones Casa de las Americas, La Habana, 1960, which won the Hispanic American Prize for this short story collection.

BROKEN LIFE by JOSE MARIA LOPEZ VALDIZON


JOSE MARIA LOPEZ VALDIZON
1960 HISPANIC AMERICAN AWARDS
FOR THE SHORT STORY

BROKEN LIFE