Thursday, February 16, 2006

Sergio Badilla Castillo:
The founder of the transrealistic poetry

Ross Arkin

At the end of the Eighties, the Chilean poet, Sergio Badilla Castillo, born in Valparaiso in 1947, began to give outline to the poetic transrealism, based on the fictive proposal of the American writer, Rudy Rucker.

At this time Badilla Castillo began to fracture the idea of temporality in his texts making use of tangible elements as uchrony, term acquired by Rucker and Badilla, from Bazon Brock who invented the utterance from the word Utopia by changing the expression "topos" (meaning place) by the term "chronos" (meaning time). "Uchrony" is non-time, the release from the flow of time, leaving the time succession which certify perpetuity, which is all at once an important factor of a narcisstic conduct, in need of a egocentric inherited driving force for reliability dischronism ( timing defect when you as entity takes time to adapt to new time reality) , parachronism (meditated errors of chronology) and using the Space Fractal as contextual constituent.

In an interview given by Badilla Castillo to the Mexican magazine, Nexus, he indicated that the last and first moment of the creator always is tied to the total glance, that is to say, the fractal instant, where the time does not have fissures, or rather, it tends to be unigenic. Hence forward he will say that dimensions change and multiplied, thinking on Einstein's theory on time-space conjunction.

When we speak on temporality’s break, it is frequent that someone should say that, generally, the poets do that recurrently, nevertheless, they do not interlace these ruptures among themselves, as Sergio Badilla Castillo does, when he situates a poetic fact at three or four temporalities at the same time, and even so reserve to himself the idea or emergence of complementarity emptiness and its representation as a chaos’ espeleologic graphic.

During his poetic maturity and considering his influential alter ego Badilla Castillo, is considered the Spanish speaking poet with a noticeable Nordic influence, from the Finnish poets, Edith Södergran, Elmer Diktonius, Paavo Haavikko, Pentti Saarikoski and the Swedish Gunnar Ekelöf, Tomas Tranströmmer and Lars Gustafsson.

While he lived in exile he belonged to the writers meeting Taller of Stockholm, and of the Pelican International Group of Arts and founded the literary magazines North Pole and Pacion.
A NARWHAL SLEEPS

Sergio Badilla Castillo

It gets dark before we say goodbye and a streetcar speeds by.
The vehicle’s haste slows the drunk’s stride
as he wavers on the pavement.
The wind pauses on the metallic back
of a dead dragonfly.
A single-tusked narwhal lies beached
on the cove’s gravel banks
it was light blue in the instant of the sulfurous cosmos, was sage in the mist
parched time-abandoned blue-eyed
behind some rocks, a last shelter from the squall
others crouch hidden in the sand behind white mound
Birches twist as the wind may thunder
or gusts rumble
weary the belly grows shuns hulking hunger
enormous appetite for disastrous food slows
misery among the miserable.
The fluorescent signs of the lit city
are farther than the firmament.
Lost in the singularity of infinity, astray.
There are no visible signs of planets, constellations, stars
Nevertheless, those from afar say a bright light burst open at sea
like some kind of radiant mushroom
like the hoary grass or the harshness of winter frost.
The blizzard rakes across the back of the whale
back near the dunes some people pass by
and night falling
in the cove where the swells foam
a single-horned narwhal sleeps.


(Translated by Deborah Moore)
THE MAN FROM CARTHAGE

Sergio Badilla Castillo

The crowd with spontaneous anxiety fossilizes itself in this anchorage
I came here to hide myself like an old elephant
looking for a place to die
the city I've always loved as if it was my woman.
Although she distanced herself for more than 30 years .
The overseer makes fun of the globetrotter’s return
despicable gawky still with his European mind
with phlegmatic manners of a English gentleman
overwhelmed by secret enemies:
It is old Strindberg walking in Karlavägen under the snow
or perhaps myself at noon in the coastal promenade,
wandering around aimlessly to recover the lost tracks
on the pavement.
Mathematical confusions explain my ominous years.
I remain perplex when an imprudent lady consults about my
mother’s health and then I think I’m still transcendent
behind all the skylights and inner doors.
The exile /at heart/ was more a lack of affection than expatriation
and perhaps not what I expect from this return.
The light of a lamppost partly obstructs / my eyes’ obstinate
glance with sincere restlessness. The sea is there and escapes in the horizon of the prospect of my gaze
August Strindberg /decayed and bearded/ has returned to Stockholm
He reads a volume /at the blue tower of Drottninggatan/ about a solitary man in front of the sea in Carthage.
DREAM OF A NECROMANCER

Sergio Badilla Castillo

At that time I had the necromancer’s delirium who discovers
a village under the ground of the desert.
Caustic stonewalls devastated by the sand
confused mommies similar to my dim father.
It was not the innocence that infiltrated the doubt
but the mirage that the death causes.
I moved away towards the desert
to listen the strength of my pain prattle back in the wasteland.
I rambled over the plain and I spent whole nights
watching at the stars.
Days of absolute dogma in the plain
clues that shone on the limestone stone
in a landscape at the edge of the miserable land:
Were perhaps my brothers there or perchance my enemies?
or maybe my father on a beetle’s haunches
fleeing (moving about without a definite destination)
around the severity of the universe.
The transrealistic poetic world of Sergio Badilla Castillo

Elena Kleinert


Sergio Badilla Castillo born in Valparaiso in 1947, lived more than twenty years in the Europe of changes, from Bucharest, to Stockholm, from Paris to Moscow experiencing the main transformation at the end of XX century. To day he is a prominent name in the ground-breaking world of the Spanish speaking poetry , but at the same time, a keyword for entering in the legitimacy of transrealism, and its illusory universe of whim and simulacre.

Badilla Castillo in his significant and transreal world, is a bulky dweller in the transfigured essence of this lyric teogony. His literary proposal, which quietly irrupted at the beginning of the nineties, subvert the limits of the recurrent symbolic representation challenging the limits between the fossilized conventions of the ruling language and the framed common essence of reality.

Badilla, includes in his lyric weft the enduring time’s rupture, throughout uchrony referred to an invented time phase of our humankind, differing to imaginary lands or worlds. An idea in the manner of Rudy Rucker where uchronic times are not simply described above all located in some remote place, Badilla, brings in too the parachronic sight, an ex tempore vision where all past sequences disappears and things start on again precisely resembling it one time performed. It is situated outside the time of cosmos, via parachronic scrutiny one can reach any place on the vast ring of time. Badilla Castillo includes besides the anachronic acuity, as a creating tool in his transrealistic poetry which represent the divergence amid the chronological organization of events and the arrangement in which they are linked in a design. As a poetic constructive component Badilla also uses the acrony, where the lyric subject itself can come across right through a timeless relation with reality, or maybe in a perspective quite out of time.

Badilla trasvitual’s world calls upon the transubstantiation of time and room, the nullity of objective validity, the disrupted identity of the lyric subject, through decontextualization locating the fissure of both subjectivities in the linguistic heterogeneity of the text and in the space level arriving thus finally to a new unpredictable appearance. Everything is exposed to destruction, transformation, mixture, to the change of dimensions or shapes, to be interbreeding by natural phenomena or topic to be amend, distorted or damaged. There is no meaning in consolidating a eulogized existence. The transreal reality depends on a representatively mediated relationship between a warp of language dimensions and the unknown rudiments of the cosmos

Not tied up from the logocentric dogmas that restore the lyric subject with phonic dissension, the relevancy form of this poetry beyond or outside the bounds of sense relates to a newly discernible reality that is translogic.