Toward Octavio Paz: A Reading of His Major Poems, 1957-1976 by John M. Fein

By John M. Fein

The undisputed highbrow management of Octavio Paz, not just in Mexico yet all through Spanish the US, rests on achievements within the essay and in poetry. within the box of the essay, he's the writer of greater than twenty-five books on matters whose diversity―esthetics, politics, surrealist artwork, the Mexican personality, cultural anthropology, and jap philosophy, to quote just a few―is excellent. In poetry, his creativity has elevated in vigour over greater than fifty years as he has explored the various probabilities open to Hispanic poets from many alternative assets. The bridge that joins the halves of his writing is a priority for language usually and for the poetic technique in particular.

Toward Octavio Paz defines this means of construction via an in depth exam of the books that signify the summit of the poet's improvement, 3 lengthy poems and 3 collections. it's meant for readers of various poetic event who're imminent Paz's paintings for the 1st time.

By learning the connection of the components of the poem, really constitution and topic, Fein lines the poet's development via methods to the reader, every one embodied in a separate paintings. From the divided circularity of Piedra de sol in the course of the intensification of the topic of Salamandra, the a number of meanings of Blanco, the polarities of Ladera este, and the literary solipsism of Pasado en claro, to the silences of Vuelta, Paz has formed his audience's responses to his paintings via recommendation instead of keep watch over. the result's not just a brand new poetry yet a brand new receptivity.

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Extra info for Toward Octavio Paz: A Reading of His Major Poems, 1957-1976

Example text

The fourth stanza is a series of abstractions that vaporize the reality with which the poem began. All that remains is the sound of the poem's words ("silabas que alguien dice I palabras que alguien oye" [syllables that someone says I words that someone hears]) and the feeling, now stated for the last time, that something is imminent. The fifth stanza continues the subject and tone of the first as the poet takes leave of his friends and autumn resumes its march. The destructive nature of time, continuing the tone of the third stanza, is also resumed.

Paz's readers are familiar with the mood if not the precise geography, for this is the essence of life, feeling, and being whose definition is the object of so much of his poetry. What is surprising is its presence in this poem, which now has the effect of a collage. That effect is only intensified by the final stanza, an epilogue of three verses. This structure (or, rather, lack of structure) represents the poet's attempt to involve the reader's feelings in the interpretation of the poem. If the reader remains outside the poem, he will see only its lack of unity and may react in negative ways to what seems to be a lack of theme.

Paz's readers are familiar with the mood if not the precise geography, for this is the essence of life, feeling, and being whose definition is the object of so much of his poetry. What is surprising is its presence in this poem, which now has the effect of a collage. That effect is only intensified by the final stanza, an epilogue of three verses. This structure (or, rather, lack of structure) represents the poet's attempt to involve the reader's feelings in the interpretation of the poem. If the reader remains outside the poem, he will see only its lack of unity and may react in negative ways to what seems to be a lack of theme.

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