{"id":27150,"date":"2023-09-18T01:01:50","date_gmt":"2023-09-18T07:01:50","guid":{"rendered":"https:\/\/latinamericanliteraturetoday.org\/?p=27150"},"modified":"2023-09-22T10:57:00","modified_gmt":"2023-09-22T16:57:00","slug":"from-secret-poetics-translated-by-rebecca-kosick","status":"publish","type":"post","link":"https:\/\/latinamericanliteraturetoday.org\/es\/2023\/09\/from-secret-poetics-translated-by-rebecca-kosick\/","title":{"rendered":"From Secret Poetics, translated by Rebecca Kosick"},"content":{"rendered":"

The first English-language translation of the \u201csecret\u201d poetry of H\u00e9lio Oiticica uncovers a crucial chapter in the development of one of Brazil\u2019s most significant twentieth-century artists.<\/span><\/i><\/p>\n

Between 1964 and 1966, in the first years of Brazil\u2019s military dictatorship, Oiticica wrote a series of lyrical poems, entitled <\/span>Secret Poetics<\/span><\/i>, and reflected in a private notebook on their significance for his artistic practice. Despite his global fame as a founder of the interdisciplinary movement known as <\/span>neoconcretismo<\/span><\/i>, his collaborations with major Brazilian artists and writers (Lygia Clark, Lygia Pape, Ferreira Gullar, etc.), and his influence across a range of disciplines (including painting, film, installation, and participatory art), Oiticica\u2019s \u201csecret\u201d poems are almost unknown and have never been published as a collection. This edition, featuring the original texts in facsimile reproductions along with English translations and accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry to Oiticica\u2019s thinking on participation, sensation, and memory.\u00a0<\/span><\/p>\n

 <\/p>\n

Secret Poetics<\/span><\/i> will be published in November 2023 by Winter Editions.<\/span><\/a><\/p>\n

 <\/p>\n

From <\/b>Secret Poetics<\/i><\/b><\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

August 4, 1964<\/span><\/i><\/p>\n

 <\/p>\n

The smell,
\n<\/span>new touch,
\n<\/span>restarting of the senses,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0absorption,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0memory,
\n<\/span>oh!,
\n<\/span>
\ncome what may,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0what shall be,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0will become,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0will be
\n<\/span>fistful of future,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 apprehension.<\/span><\/p>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

The shadow,
\n<\/span>possible re-encounter,
\n<\/span>old encounter,
\n<\/span>just;
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 hey!
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0lost beauty
\n<\/span>there\u2019s so much, dear,
\n<\/span>needed,
\n<\/span>just;
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 secret desire
\n<\/span>inexpressible,
\n<\/span>unspeakable,
\n<\/span>just, in the incommunicable.<\/p>\n

 <\/p>\n

August 4, 1964<\/span><\/i><\/h6>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

What was,
\n<\/span>stayed,
\n<\/span>sediment of memory.<\/span><\/p>\n

August 5, 1964<\/span><\/i><\/h6>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

The spinning,
\n<\/span>becoming (unbecoming),
\n<\/span>the implication of memory,
\n<\/span>remembering,
\n<\/span>the forgetting or the unforgetting,
\n<\/span>persistence of the past,
\n<\/span>future,
\n<\/span>the experience of the now,
\n<\/span>always being,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 oh!
\n<\/span>oh what?,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0the always,
\n<\/span>the nothing,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the fire.<\/span><\/p>\n

 <\/p>\n

September 1, 1964<\/span><\/i><\/h6>\n

 <\/p>\n

\"\"<\/p>\n

 <\/p>\n

Bitter taste of what\u2019s sweet,
\n<\/span>I felt,
\n<\/span>I feel,
\n<\/span>the whip that wounds,
\n<\/span>caresses;<\/span><\/p>\n

pain,
\n<\/span>bitterness of the caress,
\n<\/span>body that burns \u2014
\n<\/span>inside;<\/span><\/p>\n

memory of pleasure,
\n<\/span>leisure of love,
\n<\/span>what is,
\n<\/span>what will be,
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0oh \u2014
\n<\/span>\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 the want
\n<\/span>impossible to stop wanting,
\n<\/span>making or unmaking,
\n<\/span>being;<\/span><\/p>\n

love
\n<\/span>sword that wounds,
\n<\/span>sugar that sweetens \u2014 ;<\/span><\/p>\n

bile.<\/span><\/p>\n

March 30, 1966<\/span><\/i><\/h6>\n

 <\/p>\n

Secret Poetics <\/span><\/i>by H\u00e9lio Oiticica, and translated via Rebecca Kosick, is available via <\/span>Soberscove Press<\/span><\/a>.<\/span><\/h5>\n
<\/h6>\n
Translated by Rebecca Kosick<\/span><\/h6>\n","protected":false},"excerpt":{"rendered":"

Between 1964 and 1966, in the first years of Brazil\u2019s military dictatorship, Oiticica wrote a series of lyrical poems, entitled Secret Poetics, and reflected in a private notebook on their significance for his artistic practice. Despite his global fame as a founder of the interdisciplinary movement known as neoconcretismo, his collaborations with major Brazilian artists and writers (Lygia Clark, Lygia Pape, Ferreira Gullar, etc.), and his influence across a range of disciplines (including painting, film, installation, and participatory art), Oiticica\u2019s \u201csecret\u201d poems are almost unknown and have never been published as a collection. This edition, featuring the original texts in facsimile reproductions along with English translations and accompanying essays by translator Rebecca Kosick and critic Pedro Erber, uncovers the significance of poetry to Oiticica\u2019s thinking on participation, sensation, and memory. <\/p>\n","protected":false},"author":5,"featured_media":26999,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2893],"tags":[4658],"genre":[],"pretext":[],"section":[],"translator":[4650],"lal_author":[4648],"class_list":["post-27150","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-adelantos-de-traduccion-y-novedades-editoriales","tag-numero-27-es","translator-rebecca-kosick-es","lal_author-helio-oiticica-es"],"acf":[],"_links":{"self":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/27150","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/comments?post=27150"}],"version-history":[{"count":5,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/27150\/revisions"}],"predecessor-version":[{"id":27716,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/posts\/27150\/revisions\/27716"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media\/26999"}],"wp:attachment":[{"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/media?parent=27150"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/categories?post=27150"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/tags?post=27150"},{"taxonomy":"genre","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/genre?post=27150"},{"taxonomy":"pretext","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/pretext?post=27150"},{"taxonomy":"section","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/section?post=27150"},{"taxonomy":"translator","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/translator?post=27150"},{"taxonomy":"lal_author","embeddable":true,"href":"https:\/\/latinamericanliteraturetoday.org\/es\/wp-json\/wp\/v2\/lal_author?post=27150"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}