Readers of English, thank your gods: the breadth of Ernesto Cardenal’s amazing poetic career is now available for your consumption thanks to New Directions and the recently published Pluriverse. Spanning fifty-six years, the book presents Cardenal in all his guises: revolutionary, spiritualist, chronicler of man’s inhumanity to man, chilling visionary, and cosmic quasi-historian. The poems in this collection are often long, deceptively assessable, and quite dazzling.
They told me you were in love with another man
and then I went off to my room
and I wrote that article against the government
that landed me in jail.
When I first encountered the above four lines—the eighth section of Cardenal’s long poem “Epigrams”—I was sure I was reading a Latin American writer concerned, a la Neruda, with love and political strife in equal measure. I was right, but little did I know of the complete depth of Cardenal; little did I know that this poem, which is wonderful, was not necessarily a perfect synecdoche of the poet/priest/activist’s total abilities. “Epigrams” is early Cardenal, written in a period of reaction against Somoza in Nicaragua. Though its deep political leanings manifest before long, the poet as sad bastard makes an appearance first:
This will be my revenge
that one day you’ll hold in your hands the book of a famous poet
and you’ll read these lines that the author wrote for you
and you won’t even know it.
Reading the poem alongside the more famous “Zero Hour,” one can see the development beginning in Cardenal from romantic young poet to mature writer documenting injustice:
. . . the United Fruit Company
with its revolutions for the acquisition of concessions
and exemptions of millions in import duties
and export duties, revisions of old concessions
and grants for new exploitations,
violations of contracts, violations
of the Constitution
“Zero Hour” remains one of the most striking examples of the poet as witness. The artful translation by Donald Walsh (one of seven translators contributing to this collection) captures the horror and history permeating throughout Cardenal’s long, unsettling poem:
Oh, to be able to sleep in your own bed tonight
without the fear of being pulled out of bed and taken out of your house,
the fear of knocks at the door or doorbells ringing in the night!
Pluriverse jumps from these early works to contemplative, spiritual poems that fuse Cardenal’s socio-political concerns with his religious vocation—“In respect of riches, just or unjust, / of goods be they ill-gotten or well-gotten: / All riches are unjust.” (from “Unrighteous Mammon (Luke 16:9))—sorrowful meditations, such as his “Prayer for Marilyn Monroe” and the nightmarish vision of his classic “Apocalypse,” a poem that seems all the more prophetic when read today:
And the angel gave me a check drawn on the National City Bank
and said unto me: Go thou cash this check
but no bank would for all the banks were bankrupt
Skyscrapers were as though they had never been
A million simultaneous fires yet not one firefighter
nor a phone to summon an ambulance nor were there any ambulances
nor was there enough plasma in all the world
to help the injured of a single city”
Cardenal always keeps his eye fixed firmly to his subject, even when bouncing from place to place, as in his “Trip to New York,” a poem that offers North Americans a look at a foreigner’s view of our rampant capitalism:
. . . And I look
at the deep canyon, the sunken gorge of buildings
where the hidden persuaders hide behind their windows
selling automobiles of True Happiness, canned Relief (for 30¢)
** The Coca-Cola Company**
we cut through the canyon of windows and trillions of dollars
A seller of old books in the Village in love with my shirt
my cotton peasant shirt from Nicaragua
he asks me who designed it.
Reading Pluriverse from cover to cover is, in effect, charting Cardenal from his beginnings to his current, Cosmic Canticle era writings—poems that chart the progression of the universe, the Earth, and the individual all at once. The new poems in Pluriverse strive to balance all of creation on the tip of the poet’s pen, fusing a connection between man and the cosmos:
Our cycle follows the star cycle:
stars are born, grow, die; our cycle is short
— theirs too.
They seem stable
but like us they’re slowly dying.
If the universe is expanding
from which center is it expanding?
Or is every point the center?
So then the center of the universe
is also our galaxy,
is also our planet
(and the girl who once was for me).
The cosmic/mythical quality of these new works matches the storied life of their author. Cardenal, at age eighty-four, after political opposition, after serving as ambassador for the Sandinistas, after forming the Our Lady of Solentiname commune, after being publicly admonished by Pope John Paul II, after being harassed by the current incarnation of the Sandinistas, has earned the right to look not only backward but beyond, into the furthest regions of space. His findings match the remarkable quality of his past poetry. This is essential reading.
The opening of Jón Gnarr’s novel/memoir The Indian is a playful bit of extravagant ego, telling the traditional story of creation, where the “Let there be light!” moment is also the moment of his birth on January 2nd, 1967. Then. . .
Mahasweta Devi is not only one of the most prolific Bengali authors, but she’s also an important activist. In fact, for Devi, the two seem to go together. As you can probably tell from the titles, she writes about women. . .
The prolific Spanish author Benito Pérez Galdós wrote his short novel, Tristana, during the closing years of the nineteenth century, a time when very few options were available to women of limited financial means who did not want a husband.. . .
Pedro Zarraluki’s The History of Silence (trans. Nick Caistor and Lorenza García) begins with the narrator and his wife, Irene, setting out to write a book about silence, itself called The History of Silence: “This is the story of how. . .
There are plenty of reasons you can fail to find the rhythm of a book. Sometimes it’s a matter of discarding initial assumptions or impressions, sometimes of resetting oneself. Zigmunds Skujiņš’s Flesh-Coloured Dominoes was a defining experience in the necessity. . .
In a culture that privileges prose, reviewing poetry is fairly pointless. And I’ve long since stopped caring about what the world reads and dropped the crusade to get Americans to read more poems. Part of the fault, as I’ve suggested. . .
I would like to pose the argument that it is rare for one to ever come across a truly passive protagonist in a novel. The protagonist (perhaps) of Three Light-Years, Claudio Viberti, is just that—a shy internist who lives in. . .