An Introduction to Octavio Paz - Softcover

Ruy Sanchez, Alberto

Softcover

ISBN 10: 1771611502 ISBN 13: 9781771611503

Publisher: Mosaic Press, 2018

Synopsis

A concise introduction to the life, work, and ideas of Nobel laureate Octavio Paz.

An Introduction to Octavio Paz, written by Alberto Ruy Sánchez, offers a comprehensive overview of the vast literary, intellectual, and poetic legacy of Mexico’s greatest writer. This primer unravels Paz’s complex life and bibliography, guiding readers through his key themes and concepts.

Explore Paz's revelatory conception of poetry, his relationship with history, and his exploration of Mexican identity. Discover the influences of surrealism, erotism, and Eastern thought on his work. This handbook is indispensable for anyone seeking to understand Paz's lasting impact on literature and culture.

About this title

About the Author

Alberto Ruy Sánchez is an award winning writer of essays, novels, poetry, and short stories. Ruy Sánchez studied with Barthes, Deleuze, and Rancičre, and in 2005 he received the Grand Order of National Merit for authors. In 2006, he received the Juan Pablos Award, and in 2012, the St. Petersburg Lee Prize. For this book, Ruy Sánchez was awarded the Jose Fuentes Mares Prize for Literature and recognized as a Fellow of the Guggenheim Memorial Foundation.

Excerpt. Š Reprinted by permission. All rights reserved.

An Introduction To Octavio Paz

By Alberto Ruy Sánchez, Jeannine Marie Pitas

Mosaic Press

Copyright Š 2013 Fondo de Cultura Económica
All rights reserved.

ISBN: 978-1-77161-150-3

Contents

Translator's Note, 
A Warning, 
I. Seed, 
Lucidity: The Key to the Poem, 
II. Circle of Earth, 
The Emergence of the Poet: 1914-1943, 
1.) Poetics as Territory, 
2.) Learning to Sing, Face to the Wind, 
3.) Poetic Passion, Social Passion, 
4.) Questions of Time, 
III. Circle of Air, 
Toward the Unexpected: 1944-1958, 
1.) A Flight to the Orchard of Surprises, 
2.) First Vision of the Labyrinth, 
3.) When the Work is a Ripening Fruit, 
4.) Return to Mexico from the Rising Sun, 
IV. Circle of Fire, 
The Fleeting Paradise: 1959-1970, 
1.) New Old Worlds: an Indian Parentheses, 
2.) Space as Time and Poem, 
V. Circle of Water, 
The New Violent Season: 1971-1990, 
1.) Action and History, 
2.) Memory and Melancholy, 
3.) The Tree and the Forest, 
4.) The Incessant Search and Chance, 
VI. In the Spiral, 
The Search for the Present (1990-1998), 
1.) The Fellowship of the Present, 
2.) Retrospective Glance, 
3.) Return to India with Parvati, 
4.) The Fragility of Life, 
VII. Coda, 
The Noonday Tree, 
Revelation of the Instant, 
A Minimal Bibliography, 
Acknowledgments, 

CHAPTER 1

Seed

Lucidity: The Key to the Poem

From the first poems that Octavio Paz recognizes completely as his own – those that opened Libertad bajo palabra in 1935 – to the last poem he published in 1996, they all share an unusual common feature. They are separated by more than sixty years as well as many experimentations, mutations and discoveries, in the poet's life as much as in his work. But they are joined by the same notion of the poet as a witness to the fleeting epiphany of life: the sudden apparition of a clarity that vanishes one instant later. And the poem is a language for this exceptional moment in which "thought sees, while eyes think" as life continues its journey toward silence. For Paz, the poet moves through the world with an exceptional degree of lucidity.

Octavio Paz subtitled his final poem "Diálogo con Francisco de Quevedo" ("A Dialogue with Francisco de Quevedo"). But in his first youthful reflections on poetry there was already an indirect dialogue with Quevedo. This was especially true in "Lágrimas de un penitente" ("Tears of a Penitent") in which Paz saw a kind of existentialism avant la lettre and also an early breath of Baudelaire, with the idea of having been born in a state of evil with no chance at salvation. In Quevedo, Paz identifies the seed of modern angst and rebellion.

Between the day "made of time and emptiness" that in 1939 appears filled with light and nothingness, and the time and space that in 1996 "fall dizzyingly toward silence," we can observe one of the most singular poetic adventures of the twentieth century.

As a young writer Octavio Paz found himself torn between a purist poetry (which was upheld by the previous generation of poets, whom Paz admired) and a socially engaged poetry (in accord with the messianic idea of a future society that Paz believed was being forged in Latin America). As neither of these two poetic approaches left him completely satisfied, he began to formulate a paradoxical solution: the poem as a black light calling for an awareness of being in the world, of living among others and inside of history. The poem as a synthesis of opposites: the bow of the warrior and the lyre of the singer. Neither opposed nor subordinated to history, the poet burns with the passionate awareness of moving within it.

However, the poem is also the deepest presence of life, its miracles and disasters. A perpetual search: "And I dive into life and grasp at nothing." Meanwhile, a ritual search for the body of the beloved: "singular land that I know, that knows me, the only nation I believe in, the only door to the infinite."

In this way, the poetry of Paz is forged between the abyss of existential solitude and a transcendent communion with others, especially the beloved: "Beyond us, at the border between change and constancy, a life more alive comes to claim us."

In the postwar era Paz lived in Paris and was drawn to surrealism. "It was a group of free poets in a city intoxicated by theories and ideologies that heightened the passions but did not illuminate the soul." The prose poems of Águila o sol? (Eagle or Sun?) bear a trace of this fascination. And the long poem Piedra del Sol (Sunstone), from 1957, a centrepiece of Paz's work, is a synthesis of all his concerns up to that point. A crucible of his formal explorations and poetic thought. Abyss and erotism, history and personal memory, symbol and material, sensation and idea, all come together at last in a poetic form that is an echo of tradition and a challenge to that same tradition. A summation and rebirth of the poet.

Later, starting in 1962 in India, his poetry convulses and a protracted erotism becomes the cornerstone of his search. The encounter with Marie José Paz, from whom he would not separate for a single day from 1964 to his death in 1998, marks this new way of being: "Sometimes poetry is the frenzy of bodies and the frenzy of delight and the frenzy of death." His poetry becomes an expression of erotism.

The long poem Blanco (White) and the narrative poem El mono gramático (The Grammarian Monkey) synthesized the double trace of otherness in his world: that of the Orient and that of his beloved. But all too soon, an expulsion from paradise would occur. A poem on the murder of students in Mexico in 1968 would accompany his refusal to serve as an ambassador of the government responsible for that crime. This gesture would be remembered upon his receipt of the Nobel Prize in 1990.

In "Nocturno de San Ildefonso" ("San Ildefonso Nocturne") as well as "Pasado en claro"("A Draft of Shadows") and other poems from the 70's, we see a rebirth of his concerns for personal memory interlaced with history. Paz reformulates his poetic solution, giving poetry the function of greatest lucidity.

Poetry is a critique of modernity – in the realm of the passions rather than the intellect, in the name of realities denied by the modern age. It is what Octavio Paz calls "the other voice": that of the human who sleeps in the background of every human. The one who, through poetry, is not explained or analyzed but revealed, evoked and inspired. Poetry is fed by the imagination and is, according to Paz, "the antidote to technology and the market," those new empty idols of the masses, which replaced the previous ones: religious dogmas and totalitarian ideologies.

Octavio Paz wrote many fundamental essays on art, society, history, international politics and Mexican politics; with these his work already forms a cornerstone of contemporary culture. But it is his poetry that contains this lucid axis that nourished his thought and his peculiar way of being in the world. The poetry is the master key to his oeuvre as a whole. Thus, those who comment on his political ideas without understanding the poetic rebellion that underlies them only understand the shadow of what he is saying. Octavio Paz is faithful to a reading of Aristotle's poetics that makes a radical distinction between the historian and the poet. The first writes what happened; the second questions what happened with a wider vision that does not conform to what others think and say, considering instead what should have happened and what could have happened. The poet's vision, wider, with more dimensions (including sensory ones), more unsettled and unsettling, forms a foundation for his political essays as well as his writings on art.

His last poem, a final dialogue with Quevedo, seeks to be a poem of reconciliation with life's fragility, its convulsions and abysses. Paz has stated that this is something only T. S. Eliot actually achieved. Life returns to silence, to the death of the poet, but this does not matter because "we already know that music is silence and we are one chord in the concert." Thus I begin at the end and begin again.

CHAPTER 2

Circle of Earth

The Emergence of the Poet: 1914-1943

1. Poetics as Territory

Toward the end of the 1930's, a new generation of writers appeared on the Mexican cultural scene. They were associated with the magazine Taller (Workshop). Their presence was notorious because they showed, with a certain violence from their first expressions, a new awareness and a new attitude toward literature and the world. Their main difference from the previous generation might be defined precisely in their conception of the special place that poetic work occupies in the movements of history: neither indifferent nor subordinate to it. Literary creation could not decidedly turn its back on all the occurrences and political and social movements that characterized this generation's time, but neither was it an automatic transmission of those same historic events. They held neither to simple "social" poetry nor innocently "pure" poetry, but rather a new, richer, less schematic conception of poetry. They did not reach this idea without conflicts and contradictions between certain political ideas and their aesthetic sensibility. They frequently tried out different poetic paths.

Also, as these poets were the natural heirs to thirty years of artistic avant gardes throughout the world, it was possible for them to seek and find new poetic forms to suit their new search for meaning. And that was the meaning of their experimentation, as these young voices offered a truly new song that tried not merely to reproduce what they called "rhetoric," which Octavio Paz poetically criticized thus:

The birds sing, they sing
but don't know what they're singing:
their only understanding is their throat.

This new awareness would give a face, through many books over a period of many years, to a large part of Mexican literary culture, at least for the next seven decades. They would initiate a literary period that perhaps has not ended. The values, explorations, motives, and poetic usage of these writers were in large measure those that, toward the end of the century, became the face of Mexican literature, and this will probably continue to be the case for some time. However, the poets of this Mexican generation, alongside other poets of the same generation in other Latin American countries as well as Spain, were initiating the change toward what was destined to become the modern poetry of Hispanic America.

Octavio Paz was among those young writers who were under thirty at the beginning of the 1940's. Especially active, belligerent, and productive in his creation of poetry, essays, translation and criticism, Paz would clearly become the protagonist of his generation and the literary period that this generation initiated.

What is the alchemy of this poet? The familial, social, and political ingredients, combined with the transforming fire of his person, make him the unique poet he was. The relationship between life and work is always more complex than it seems. The life gives indications of the rare creation that makes up the work of an innovative poet. But biography never explains a work completely. Likewise, the work does not explain the life. Both of these, insufficient as mutual support, weave a singular, unique story. A kind of third reality. And this pulses in the imagination of readers who establish the bridge between what this author lived and wrote. To observe and try to comprehend the transformative alchemy of the life and work of a poet is always an adventure and a search. It is to recognize that there is a mystery, to follow the clues toward solving it but also to accept that some aspect of the mystery remains. Here and there along this road the keys to the work become evident, as does the pleasure of coming to understand it.

2. Learning To Sing, Face To The Wind

Octavio Paz Lozano was born in Mexico City on March 31, 1914. The father's side of his family had its origins in Jalisco (his grandfather Ireneo) and Colima (his grandmother Rosa), and the mother's side was of Andalucian origin (his maternal grandfather was from Medina-Sidonia and his grandmother was from Puerto de Santa María). There is a mythical portrait of his mother Josefina Lozano, born in Mexico, in his poem "Pasado en claro," ("A Draft of Shadows") written many years after her death. This poem also describes the family environment and the grandfather Ireneo's mansion.

They also gave me bread, they gave me time,
clear in the curves of the days,
havens where I could be alone with myself.
A child among quiet adults
and their terrible childishness,
a child in the hallways with tall doors
rooms with portraits,
twilight guilds of the absent,
child survivor
of the mirrors without memory
and their town of wind:
time and its incarnations
turned into a reflection simulacrum.
In my house the dead were more than the living.
My mother, a thousand-year-old girl,
mother of the world, my orphan,
selfless, ferocious, obtuse, foreseeing,
goldfinch, dog, ant, wild sow,
love letter lacking in language,
my mother: the bread that I cut
with her own knife every day.

Ireneo Paz Flores, the poet's paternal grandfather, was a prominent intellectual liberal and Freemason who participated in the great historic occurrences of his century: he was a member of the army that fought the French intervention of Napoleon III in Mexico and reached the rank of colonel; he was government secretary in the state of Sinaloa; he was part of the rebel movement that brought Porfirio Díaz to the presidency of the nation; he was a member of the City Council of Mexico City and a member of the Mexican Congress (Congreso de la Unión). He wrote a biography of Porfirio Díaz, Vida y muerte del más celebre bandido sonorense Joaquín Murrieta (Life and Adventures of the Celebrated Bandit Joaquin Murrieta: His Exploits in the State of California), various historical novels (Dońa Marina; Amor y suplicio, or Love and Anguish; Leyendas históricas de la Independencia, or Historical Legends of Independence); costumbrist novels (Amor de viejo, or An Old Man's Love; Las dos Antonias, or The Two Antonias; La piedra del sacrificio, or The Sacrificial Stone); works of theatre (La bolsa o la vida, or Your Money or Your Life; Los héroes del día siguiente, or Heroes of the Day After; La manzana de la discordia, or The Apple of Discord); his volumes of memoir (Algunas campańas, or Some Campaigns) and also one book of poems (Cardos y violetas, or Thistles and Violets). He was the owner of a printing company, a publishing house and several newspapers. The last one, La Patria (The Nation) was set on fire and confiscated by the government of Venustiano Carranza, whom the newspaper had criticized. Ireneo Paz was 78 when Octavio was born – almost the same age (just two years older) than his grandson would be when he won the Nobel Prize.

Thanks to the extensive library of his grandfather, from a young age Octavio Paz was able to read Benito Pérez Galdós, Lope de Vega, Calderón de la Barca, Juan Ruiz de Alarcón, Luis de Góngora, Francisco de Quevedo and many others. All the fundamental poetry of his mother tongue was at his reach in this library, including the work of the Hispanic American "modernista" writers from the end of the nineteenth century and beginning of the twentieth. The French novelists and poets occupied a good part of this great library. There, as a child, he was introduced to literature and all its power by his aunt, Amalia Paz:

A virgin who talked in her sleep, an aunt
taught me to see with my eyes closed,
to look within and through the wall.

With her he would begin his immense exploration of French literature and art; his continuous dialogue with a culture that, in different ways and not only in the twentieth century, left subtle traces in Mexican literature and art. In his text "Mutuas inspiraciones" ("Mutual Inspirations") Paz states the following:

I belong to a middle class French-influenced Mexican family. Around 1910 there were many such families. What is meant when one speaks of "Frenchification?" If we consult a dictionary we find that the word applies to those who imitate the French in an exaggerated manner. The same is said of those who, in Spain, followed Napoleon's party in the past century. But the word has a fuller, nobler and richer meaning. It's enough to read our historians, novelists and thinkers to confirm that, since the end of the eighteenth century, those associated with the Enlightenment and, later, those who sympathized with the French Revolution were seen as "Frenchified." The word continued to be used throughout the nineteenth century to designate the liberals. In this sense, nearly all our great liberals were "Frenchified," from José Luis Mora to Ignacio Ramírez, from Altamirano to Justo Sierra. Some admired Benjamin Constant, others Danton; some were Girondins, others Jacobins, still others followers of the First Consul or even the Emperor. By the end of the century the term "Frenchification" acquired an aesthetic color, coming to mean someone who was a symbolist or decadent, a devotee of Flaubert or Zola or, ultimately, as Rubén Darío puts it, "with Hugo, strong, and with Verlaine, ambiguous." In this way we reach the twentieth century, the realism of Azuela and Marín Luis Guzmán, the prose of Reyes and de Torri, the poetry of Tablada, González Martínez, López Velarde, Villaurrutia, Gorostiza, Torres Bodet. The work of all these writers – and they are not the only ones – sustains a dialogue, sometimes open and at other times covert, with French literature.

(Continues...)

Excerpted from An Introduction To Octavio Paz by Alberto Ruy Sánchez, Jeannine Marie Pitas. Copyright Š 2013 Fondo de Cultura Económica. Excerpted by permission of Mosaic Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Edition details

• Publisher: Mosaic Press
• Publication date: 2018
• Language: English
• ISBN 10: 1771611502
• ISBN 13: 9781771611503
• Binding: Paperback
• Number of pages: 160