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In this paper I explore resistance to energy colonialism in the work of Saharawi poets Limam Boisha and Fatma Galia Mohammed Salem. I first follow the cables of the growing renewable energy infrastructure in occupied Western Sahara to make sense of how sun and wind can become enmeshed, materially and discursively, in ongoing processes of colonialism. Then I argue that Boisha and Mohammed Salem employ aeolian aesthetics in order to resist the colonizing discourses of renewable energy developers. Aeolian aesthetics are informed by wind in their structures, motifs, imagery and rhetorical devices. They make a decided appeal to the senses through which we know the wind: sound and touch, and visions of the windblown. The aeolian aesthetics that shape the Saharawi texts explored in this paper challenge hegemonic colonial understandings of wind (energy) and of Western Sahara's desert heartlands, thereby resisting corporate discourses that enact energy colonialism. [ABSTRACT FROM AUTHOR]

When Octavio Paz compared the Tlatelolco 1968 massacre to the conquest of the Aztec empire he created a foundation (and indeed, at times, the inspiration) for the view of the massacre as a symbol of a long-lasting internal conflict. This paper explores how the Tlatelolco 1968 poetry reflects (or appropriates) the 1521 texts. Are these texts used as extra metaphors of what happened in La Plaza de las Tres Culturas on 2 October, as links to the square's infamous past, or is there a more enduring reason for the retelling of the story of the fall of Tenochtitlán? To answer these questions, I will examine four versions of José Emilio Pacheco's poem 'Lectura de los "Cantares Mexicanos": Manuscrito de Tlatelolco (octubre 1968)'. The reading will be informed by the theory of habit (Bourdieu) and collective remembering and forgetting (Halbwachs and Bartlett). [ABSTRACT FROM AUTHOR]

Part music, part cacophony, the Solitudes is an anti-poem that speaks while refusing to speak, a sort of oracle that 'neither indicates nor conceals but gives a sign' (Heraclitus). The aim of this paper is to listen to this oracle in a quasi-psychoanalytical way, that is to say, to let it talk while recording its mistakes, its moans, its negations, its silences. The first part of the paper places Góngora's aesthetics of dissonance within the wider framework of the philosophy of Heraclitus and his notion of 'hidden' harmony. The second part studies four instances of 'hidden' harmony in relation to the act of talking, namely: talking and crying; talking and making noise; talking and babbling; and talking and not talking. [ABSTRACT FROM AUTHOR]

An introduction to the journal is presented which discusses various papers published within the issue, including one on Néstor Perlongher's writing based on his experiences with psychotropic drugs and esoteric religions in Brazil, one on an examination of Alejandro Rubio's poetry, and another on the long poems of Daniel Samoilovich.

The work of Alejandra Pizarnik has been a central part of the questioning of subjectivity in recent literary criticism. Two basic patterns have emerged: one outlines the unification of the poetic persona and the poet's tragic life; another draws attention to the fundamental lack that is presupposed (even in the first case) once subjectivity is understood structurally (i.e., linguistically). While this divide has been posited as the rupture between Romanticism and postmodernism, this paper claims that the basic pattern of subjectivity in question marks a continuity with the Romantic tradition and, furthermore, that this tradition is one that abolishes the singularity of the poem for Pizarnik. A third subjective position then emerges, one that Pizarnik simply terms 'the new voice, unknown'. This third subjective position divides her oeuvre from within and incorporates the other two.El trabajo de Alejandra Pizarnik ha sido importante para el cuestionamiento del concepto de subjetividad en la crítica reciente. Dos patrones se han impuesto: uno propone la unificación del sujeto poético y la figura trágica de Pizarnik la persona; otro hace hincapié en la falta en la que se funda todo sujeto (hasta en el del primer caso) una vez la subjetividad se piensa estructuralmente (es decir, lingüísticamente). Esta división se ha visto a través del lente de la ruptura entre el romanticismo y la posmodernidad. Este ensayo sostiene que en ambos casos el tipo de subjetividad está en continuidad con el sujeto romántico, y, más allá, que, para Pizarnik, esa tradición destruye la singularidad del poema. Un tercer tipo de sujeto surge entonces, al que Pizarnik simplemente llama la 'voz nueva, desconocida', y divide su obra desde el interior a la vez que incorpora los primeros dos. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to elucidate the symbolic character of Ernestina de Champourcin's poetry. Using vivid images of the body, and more concretely, the hands, we are able to reconstruct a coherent poetic-symbolic language in her early period. As we delve into this early period (1926–1936), we find that she connects with the imaginativeness of many of her generational peers, but taking a somewhat different route. Champourcin draws on the French Romantics, the pure poetry of Juan Ramón Jiménez, and the mystic passions of San Juan de la Cruz, to give way to a unique and vibrant symbology of great critical value in the field of Generation of 1927 studies. [ABSTRACT FROM AUTHOR]