Full Description
Marco Antonio Campos's work can be considered a response to the dialogic poetry that arose in Latin America beginning in the 1950s. The latter is characterized by radical disregard for solipsism, opposition to capitalism and neo-colonialism, opening up to popular culture, democratization of language, and formal experimentation. By contrast, in Campos's poems, like in many by his contemporaries, morality is given priority over politics, feeling over reason, plain style over experimentation. In his case, a displacement from time history and biography toward space city and home is carried out, and poetry becomes chronicle. Yet this reaction is normal, intrinsic to the evolution of Latin American poetry, self-aware and adamant in its refusal to stagnate. Accordingly, Campos's work is no less conscious of the other, no less socially participative or aesthetically restless than that of his immediate predecessors. As Roger Munier suggests, in the end, each of Campos's books debates "his relentlessly questioned identity," but in a different way that ultimately continues to be dialogic and to require an active reader.
Contents
Contents
from Deaths and Disguises (1970-1974)
Statement on Beginning
Contradictio (VI)
The Last One
Historical Account
There's a Place on the Banks of the Seine
Wiedersehen
from A Sign on the Sepulcher (1974-1977)
One by One My Brothers Left . . .
Match
On the Beaches of Corfu
You Could Hear the Sitar Behind the Wind
That Voice in Piraeus
from Monologues (1972-1992)
Monologue (I)
Monologue (IV)
Ash on My Forehead (1978-1987)
What We Understand as Night
Europe 1972
It Was Ninfa Santos and It Was Rome
Encounter with Cesar Vallejo
New York Interruptions (I)
Spanish Sketches (I)
Spanish Sketches (II)
Remember
In Zacatecas
(morning)
(midday)
(evening)
(night)
The Wrong Way
Evening in Sorrento
Prayer
Epitaph
The Stranger's Farewells (1988-1996)
The Modern Poets
Arles 1996-Mixcoac 1966
A Letter Too Late
The Parents
Crossing Rideau Street (Ottawa)
Sankt Peter Kirche
Winter in Vienna
Cafe Korb
Only in Samizdat
July in Arles
In the Hotel-Dieu (Van Gogh)
Hopital de la Conception
Zum Weissen Engel (Georg Trakl)
Mexico (I)
Against the Tide
Gravestone
Friday in Jerusalem (1997-2004)
8 Los Pinos Avenue
Ermita Cinema
The Student from 1966
Burnt House
Pardon the Sorrow
Sonia in the Winter of '81
Cephalonia
I Was Here . . .
Elegy for Philadelphia
At the Banks of the Sea of Galilee
Friday in Jerusalem
In Ein Karem
A Summer's Day in Montreal
At the Old Port
Between Two Squares (September 11, 1973-November 9, 2004)
The Rebels
Acuna
