Showing posts with label academia. Show all posts
Showing posts with label academia. Show all posts

The Disenchantment of Naïve Intellectuals

CHRISTOPHER BRITT ARREDONDO





Fernando Robles, Sueño Urbano/ Urban Dream (Acrylic and oil on canvas: 150 x 200 cm, 2004)



1
The schizoid condition that ontologically fragments and morally degrades intellectuals in our time is not without historical precedent.  In La ciudad letrada, Angel Rama portrays with brutal honesty the ugly role that intellectuals have played in shaping the reality of Latin America.  From the period of conquest and colonization, through the era of independence, to the whirlwinds of the Mexican revolution, Rama underscores the lust for power, wealth, and fame, as against the thirst for truth, equality, and justice which has too often motivated Latin America’s all-too-human intellectuals.  Precisely by reason of this brutal honesty, Rama’s critical history is an example that intellectuals would do well to follow today: for our time is as devoid of the courageous self-reflection that Rama practices in La ciudad letrada as it is plagued by the timid forms of self-deception that he denounces in this provocative book. 
       While the tension between intellectuals who lust for power and those who thirst for justice informs every chapter of Rama’s history, this tension achieves a particularly dynamic quality in his final chapter, where he studies the roles that intellectuals played in the Mexican revolution.  To that end, he recalls how Mariano Azuela, in his famous novel about the Mexican revolution, Los de abajo, places his revolutionary hero, Demetrio, at the center of a triangle whose angles are occupied by the intellectuals Luís Cervantes, Alberto Solís, and “El Loco” Valderrama.  This triangle symbolically represents the diverse ways in which would-be revolutionary intellectuals in Latin America have sought to associate their linguistic prowess with the power of the sword.  Cervantes represents the opportunistic and sycophantic intellectual; Solís, the disillusioned and melancholic idealist; and Valderrama, the madman who, because he is mad, can both acknowledge and withstand the terrible truth of his relationship to power.  And what is that truth?  What is this brutally honest truth that neither Cervantes nor Solís dare to articulate, and much less incarnate? According to Rama it is that Valderrama, “El Loco,” and that the others too --the opportunists and idealists-- are at best half-hearted heroes of the revolution.
      By highlighting the triangle of positions that the intellectuals in Azuela’s novel  take vis-à-vis the Mexican revolution, Rama draws attention to the conflictive relationship that often forms between intellectuals who join revolutions and those downtrodden people –los de abajo-- on whose behalf such revolutions are purportedly made.  At issue in this conflict is the verbal prowess of intellectuals.  On the one hand, their ability with language helps intellectuals prove that they are loyal to the ideals of the revolution and deserve the trust that los de abajo place in them.  On the other hand, this linguistic artistry is precisely what makes intellectuals suspect in the eyes of their revolutionary brethren.  For how can los de abajo know for certain that the intellectuals mean what they say and say what they mean?  Where does their artistry begin and end?  What are the limits of their solidarity with the revolutionary masses?  Unable to secure comforting answers to these unsettling questions, los de abajo are left with a nagging doubt.  Could it be that the intellectuals who have joined the revolution have done so in order to attain positions of power within the very same lettered city that the revolution aims to overthrow?
As ugly as it may be, this suspicion is neither the product of some popular paranoid delusion nor an instance of mass hysteria; rather, it is grounded in historical reality, in the historical memory accumulated over centuries by the downtrodden, in the experience, precisely, of those on whom intellectuals have tread in their bid to associate their power over words with the coercive powers of the state.  Indeed, the historical record that Rama critically reconstructs throughout La ciudad letrada demonstrates the extent to which los de abajo have had plenty of reasons to mistrust intellectuals, especially those who have presumed to speak on their behalf about the importance and value of revolutionary ideals.
Although Rama’s assessment of the dubious role that intellectuals have played in Latin American history ends with an analysis of the intellectuals who participated in the Mexican revolution; the doubts it raises concerning the legitimacy of intellectuals are still as pertinent today, at the start of the twenty-first century, as they were at the beginning of the twentieth century.  My recent experience in Colombia, where I went to study the flight and plight of that country’s more than three-and-a-half million forcibly displaced people, is paradigmatic in this regard.  This experience taught me that, in spite of my wishes to the contrary, I am in fact similar to the intellectuals who Rama analyzes in Azuela’s novel.  But there is one significant difference between them and me: whereas, according to Rama’s analysis, intellectuals will tend to occupy one of three positions in regard to the crises they mean to resolve, in Colombia I came to occupy all three positions simultaneously; I became, in a matter of speaking, a schizoid intellectual: one in whom opportunism, idealism, and paranoia compete at cross purposes, undermining his sense of integrity.
Surely, I am not the only erstwhile naïve intellectual who has thus been disenchanted and must today endure this schizoid condition.  The insanity of a world that violently displaces millions of people –whether in Colombia, Iraq, Afghanistan, Pakistan, or Sudan—and that does so in the name of security and progress, imposes this condition on anyone who feels compelled to discover and acknowledge the unsightly truths of our social reality.  Whether we like it or not, for better or for worse, we are all of us disillusioned idealists, sycophantic opportunists, and disturbed madmen and madwomen.
Is this too brutal an assessment of the current condition of intellectual life?  Perhaps it is; but honestly, there is too much at stake in our world today, there are too many crises to be resolved, for intellectuals to care too much about themselves and not enough about the world they live in.

2
I live in a lettered city, in what is perhaps the paradigmatic lettered city of our time: Washington, DC.  From the White House, to the Capitol, and from the Capitol to the Supreme Court; or from the Pentagon to the State Department, and from the FBI to the CIA; or again from K Street, where lawyers and lobbyists congregate, to the Universities, where students cultivate their minds, Washington, DC is populated by men and women of letters.  It is populated by lettered people who, in keeping with the regular rhythms of political elections, displace and replace those who preceded them.
These transitory lettered elites come to DC always wanting to start one kind of revolution or another.  I moved to DC about eleven years ago, just as the Newt Gingrich-led congress, which had signed its “revolutionary” Contract with America, was busy impeaching President Clinton because he had lied about having his penis sucked dry by an office intern.  And who was the unsung hero of this righteous revolution?  Why, a man of letters, of course!  Kenneth Star, that most punctilious lawyer, left no paper unearthed, unturned, or unread.  He, the great man of letters, proved to one and all and beyond any reasonable doubt the moral depravity to which the White House had sunken under Clinton’s watch.  Shortly thereafter, elections were held, pitting a “concerned” Al Gore against a “compassionate” George Bush.  When the Bush-Cheney ticket won, the neo-liberal revolution of the previous years turned neo-imperial.  Again, men and women of letters were at the forefront of this new revolution, citing memos according to which Saddam Hussein had played a leading role in the attacks of 9/11; crafting memos according to which torture was no longer torture; and justifying the imperialistic invasion of Iraq and Afghanistan as wars of liberation.  This neo-imperial double-speak worked its strange magic on the “revolutionary” masses of America for eight interminable years, but the damage that it has done to democracy in the States and elsewhere in the world is now evident for all to see.  Today, the Obama administration, which is itself headed by a lettered man –Obama is a lawyer, but also the author of two books, is busy with a revolution of its own. Seeking to undo the damage done by the neo-liberal, neo-imperial revolution of the right and re-establish the social and economic bases for a newer New Deal, the Obama administration has begun to set in place the revolution of the timid American left.
What sort of relationship has this “revolutionary” lettered city sought to cultivate with Colombia in the time I have lived here?  When I first arrived and Clinton was President, Washington gave birth to Plan Colombia: $800 million over eight years to help bolster the Colombian government’s so-called War on Drugs.  Curiously, when the Pastrana government first came to DC with a proposal for Plan Colombia, these monies were to be distributed according to the following formula: 80% to address the underlying socio-economic problems that lead so many people in Colombia to participate in the illicit cultivation and distribution of marihuana, cocaine, and heroine; 12% for restructuring Colombia’s financial industry; and the remaining 8% to bolster the Colombian military and police forces.  By the time the U.S. Congress was through debating this proposal, these allocations had been flipped upside down and turned inside out: 80% for the military and police; 12% to address money laundering schemes; and 8% to help ameliorate the poverty, hunger, and desperation that fuel both Colombia’s drug-trafficking industry and the armed, violent conflict that has displaced close to four million people.  Thanks to the lettered men and women who are employed by the military-industrial complex, Plan Colombia was summarily turned into what should be called Plan America: after all, most of the monies designated for this plan have actually wound up in the pockets of US-based helicopter builders, arms distributors, and other economically driven humanitarians.
When Bush came into office, there was no plan to discontinue Plan Colombia; but there was also no intention to increase it.  After the attacks of 9/11, when the Bush administration declared a global War on Terror, Plan Colombia was accordingly refashioned and re-funded.  No longer would Washington think of Colombia as the frontline of the US government’s War on Drugs; it would now become a frontline in the War on Terror.  The Bush and Uribe governments designated Colombia’s drug-trafficking paramilitary and guerrilla armies as terrorists.  While this designation included both the paramilitaries and the guerrillas, the Uribe government was quick to design a program for demilitarization and re-incorporation to civil society of the paramilitaries.  In exchange for agreeing to participate in this program, the Uribe government promised the paramilitaries that they would not be held accountable as terrorists.  Thus, Plan Colombia under the Bush administration was redefined as a policy intended to bolster the Uribe government’s war against Colombia’s guerrilla armies, primarily the FARC.
As the Obama administration settled down after its first one-hundred days in office, Washington had yet to publicly demonstrate how its policies vis-à-vis Colombia would amount to a “change we can all believe in.”  Still, if Obama’s warming toward Cuba was any indication, it seemed reasonable to expect the Obama administration would seek diplomatic rather than military solutions to Colombia’s on-going internal strife and the illicit drug-trade that continues to help finance the awful violence that has forcibly displaced millions of people: more, in fact, than anywhere else in the Western hemisphere.  But in the summer of 2009, all hopes for such a radical shift in U.S. policy vis-à-vis Colombia were shattered.  Pursuing a Bush-era policy that seeks to consolidate U.S. military presence in Latin America within Colombia’s borders, Washington and Bogotá have recently (and secretly) reached an agreement according to which U.S. armed forces will be permitted to use seven Colombian military bases.  And so it seems that the U.S.-abetted Wars on Drugs and on Terror will continue to define U.S. and Colombia relations for the foreseeable future.  This is not exactly the change I had hoped we might all believe in, but it is very much in keeping with Washington’s double-dealing culture as the paradigmatic lettered city of our time.

3
It was 2005 when I decided to travel from DC to Colombia.  My decision to leave DC stemmed from the fact that, after 9/11, life in this lettered city had become anything but intellectually stimulating.  Perhaps in other cities across the United States this was not the case, but in DC the government’s obsession with national security meant that slowly but surely life in this city on the hill had come to be governed by fear.  The police were everywhere, especially in my neighborhood on Capitol Hill.  And on the highways and interstates surrounding the city, signs would flash announcing the color-coded threat level for the day.  When I complained to my neighbors of the government’s attempts to govern our city by fear, I discovered that many of them felt comforted by those attempts, not threatened as I did.  In the years following the attacks of 9/11, it seemed as though far too many of my fellow fallow Americans were a bit too eager to give up their freedoms in exchange for security.  Indeed, anyone who dared critique the Bush administration’s overly zealous defense of the nation’s security was simply deemed un-American, even anti-American.  The enemy, or so many of my fellow Americans seemed willing to accept, was not only without but also within.
While it is certainly true that I distrusted the Bush administration’s emphasis on security and criticized those who sympathized with it, it is also true that at the time I was struggling to achieve a comparable level of security in my personal and professional life.  I too, it turns out, was obsessed with security at the time: in particular, the kind of security (which is almost unheard of these days outside the hallowed halls of academia) that comes only with tenure.  In order to achieve this level of security, I had had to publish regularly in academic journals.  To do so, I had to write in a scholarly fashion on scholarly concerns.  Anything that was not rendered in this style was summarily censored, ignored, or even worse, vilified.  Thus, in order to get tenure and be promoted to the level of security I now enjoy, I felt I had to internalize, not just the codes of scholarship, but the figurative “death threats” that hide behind the censorship practiced by so many academic journals.  “Publish or perish!”  Behind this cute little quip, which is meant to summarize an academic intellectual’s struggle for survival, there hides a terrible truth: that those who survive are often enough precisely those who most willingly accept the authority of others to censor their work, their thoughts, and their minds.  There is very little about this that can qualify as revolutionary, which may help to explain why so much of academia today is bogged down in ritualized forms of self-censorship.
The combination of a political realm obsessed with security and my own professional obsession with job security began to wear on me; I felt I was turning into a timid political being, a timid intellectual, a sickly thinker of superfluous thoughts.  By allowing myself to be conquered by this conspiracy of security, I also felt I was betraying myself.  True enough, I was an intellectual who was living in a city populated by hypocritical, sycophantic, opportunistic intellectuals; but I had always naively liked to think of myself as being somehow different: I was, or very much wanted to be, the sort of intellectual who did not suck up to power, who challenged and resisted abuses of power, and did so always in the name of freedom, of equality, and of justice for all.  In order to save face and continue to see myself in this favorable light, I felt I needed to get away from DC.  I needed to get away from all those other DC intellectuals in whose pasty faces and gray eyes I saw reflected back to me the horrible image of who I was fast becoming.
So I decided to flee from DC and went to Santa Marta, on the Caribbean coast of Colombia.  It was there that, much to my chagrin, I was forced to recognize that as an intellectual I too can be perfectly repugnant, opportunistic, disillusioned and cynical, brow beaten, and weakened by bouts of paranoid insanity.  But I am anticipating my conclusions, whereas I should first narrate the story of how I arrived in Santa Marta with great expectations, then proceeded to occupy the position of an intellectual opportunist, and eventually, after I’d become a disillusioned idealist, entered directly into a state of paranoia.

4
 When I first decided to study forced displacement in Colombia, I tried to do so objectively.  I read up on twentieth-century Colombian history.  I also read a good deal of books that studied displacement in Colombia from legal, political, and economic points of view.  Written in a dispassionate, objective, and impartial tone, these academic books all seemed to assume that in order to attain a broad view of the causes and effects of displacement I had to get personally far away from it.  While these broad visualizations did help me to perceive displacement abstractly, they also blurred my perception, allowing me to perceive only generalities and encouraging me to treat these as if they were accurate descriptions of reality.  Sensing, from what I could see on the streets, that this was utterly wrong, I then started to read other sorts of books, written mostly by journalists, sociologists, or anthropologists who had spent time with some of Colombia’s internally displaced people.  These books were rendered in the more intimate tone of memoirs or interviews and they did get me closer to displacement. Yet, insofar as these books approached displacement from the universal perspective of human rights advocates, they failed to get me as close to the experience of Colombia’s internally displaced people as I felt I needed to get in order to fully understand their plight.  I wanted to do justice to the actual experience of displacement; so I decided I would need to get as close to it emotionally as I possibly could.
The first step I took in this direction was inward.  I figured I could mine my own experience in an attempt to better understand the emotional structures and traumas involved in displacement.  Indeed, as the son of a Spanish mother and an American father who grew up in Spain, Argentina, and the United States, I was no stranger to displacement.  Early in life, I had learned to discriminate between the competing cultural values that pertained to my homes, regardless of their geographic locations.  As a cultural half-breed, to this day I make my home out of the ambivalent cross-cultural conflict that I inherited.  Internalizing that conflict and sometimes surmounting it through irony, I have learned to be at home, as it were, in exile.  Idealistically, naively, stupidly I assumed that my experience of cultural displacement would prepare me for the study of forced displacement in Colombia.
So I confidently set out to contact some of the displaced people living in Santa Marta.  I asked around town and eventually met some social activists who worked with a local NGO that had, for several years already, been attending to the needs of displaced people in and around the city.  They agreed to take me around to the outskirts of town, where we visited makeshift neighborhoods populated by thousands of displaced people.  These people lived in hovels, where there was no running water or electricity; their mud and cardboard and tin-roofed houses were built precariously on steep mountain ridges; the grown-ups had little if any work at all and only money enough to feed their families occasionally; the children had no shoes; they had no school to attend; and many looked to be simply overwhelmed by their condition, sulking, unwilling to smile.  It was during a visit to one of these marginal neighborhoods built out of desperation by the displaced victims of Colombia’s on-going civil war that I met a woman who agreed to speak with me at length about her experience of displacement.  At long last --I opportunistically congratulated myself-- I would now be able to test my theory on displacement against the experience of someone who had been forcibly displaced.
This woman –who, because I met her in Santa Marta, I will refer to here as Marta, told me that she was the victim of a double displacement.  Upon hearing her say this, I could not contain myself and vainly told her that I too was the product of a double displacement.  Although in my case the displacements were only cultural and metaphorical, I aimed to assure her that this meant I had an intimate knowledge of the emotional traumas and surprising emotional rewards that arise as a consequence of displacement.  Like her, I was a nomad.  Like her, I was a displaced subject.  Like her, I was a post-modern border crosser and cross-cultural translator of half-truths.  She looked at me suspiciously then, sensing the extent to which my readings of Jameson, Derrida, and Mignolo divorced me from life; but she resumed her narrative nevertheless.  In the two hours we spent together, whispering in a tiny corner of a hidden café, she told me the story of her double displacement.
Her first displacement came about shortly after the school where she worked as a teacher was riddled with bullets in a fierce battle between guerillas and paramilitaries.  As a result of that battle, which the paramilitaries won, the school was permanently closed.  And the teachers, among them Marta, were told that they could no longer work as educators.  For, according to the town’s new masters, they were not simply teaching the children how to read, write, and do arithmetic but indoctrinating them with the leftist ideology of the guerrillas.  So Marta, who had for years worked as a school teacher, was reduced to farming the small plot of land that she had inherited from her father and on which she and her husband had built their home.  But the paramilitaries who had taken over the town did not allow her to reinvent herself simply as a farmer.  They started to visit her home regularly, accusing her always of sympathizing with the guerrillas and threatening to take her two boys from her, so they could join the paramilitary army and in this way receive a proper education.  Marta always denied their accusations and pleaded with them to leave the education of her children in her own hands.  Then one night, the paramilitaries paid Marta another visit.  This time they told her that she could no longer stay in town, that neighbors had been talking to them about her clandestine activities as a guerrilla sympathizer.  When she vehemently denied these latest accusations and dared the paramilitaries to name her accusers, they told her that they believed her, that they did not want to hurt her or her children, and that they would be willing to help her leave.  They offered to “buy” her farm, telling her that in this way she would have enough money with which to relocate her family.  At first she refused.  But when the paramilitaries returned one night to her house in a pick-up truck (a truck that Marta and all of her neighbors knew was used to dispose of dead bodies), she agreed to “sell” her property.  The following morning she and her two boys fled the town where her parents, brothers, and sister all lived.
Thus began her first displacement.  She went to live in a town that was about two hours away from her home by bus.  She found work as a librarian, who had to travel by bus from one town to another, distributing books.  She liked this work because it meant she could still contribute to the education of children in towns other than her own.  But she missed her home dearly, felt very lonely, and could not really make enough money working as a librarian to feed herself and her sons well.  Then one day, a bus that she was traveling in was stopped by a band of armed paramilitaries.  These men recognized her; they showed her a list of names that they had with them and showed her the cross that was next to her name.  She knew what the cross meant.  That she was marked for death.  She pleaded with them to please let her go and insisted that they were mistaken about her, that she was truly nothing but a dedicated school teacher who never once spoke to her students about the guerrilla and their beliefs.  Miraculously, they let her go; but they warned her never to ride that bus again and travel to the towns her job as a librarian required her to visit.  Having been found by her enemies, she was overcome by a paralyzing sense of paranoia.  She could not leave the house she had moved to for fear that at any moment she would be shot dead.  She had no job, no money, and was losing all hope of ever being able to live a normal life again.  Her brothers sent her money so she could send her sons out onto the streets to buy food for the house.  Marta was slowly but surely being crippled by terror.  The world had collapsed on her, breaking her spirit, pushing her to the brink of insanity.  She could not sleep; she would lay awake all night worrying and remain in hiding all day, worrying.  One of her brothers came to visit her in the jail that her home away from home had become.  He bought her and her sons passage by bus to another city, much farther away, where an aunt of theirs lived.  So she fled.  Marta fled this second time to a far-away city where she could hide in anonymity, re-invent herself, and bring up her children in relative peace and prosperity.  That city was Santa Marta.
By the time that Marta and I met, she had been living in Santa Marta for two years.  When she first arrived with her two boys, they stayed in the house of a family friend.  But they were welcome only for a month before the stigma of having displaced people living with them made her hosts push her and her children out onto the streets.  Marta fended for herself as best she could, but eventually turned to the state for assistance.  Having registered as an Internally Displaced Person, she became eligible to participate in a program run by a local NGO that helped the victims of forced displacement with small business loans.  Marta produced a business plan –she proposed becoming a baker—and secured a small loan.  With those monies, she was able to purchase the necessary materials to start up her business and rent out a house where she could both work and provide her sons with shelter.  She told me that she no longer considered herself to be displaced, that Santa Marta was now home to her.  But she also told me that to many of her neighbors, her two boys and she would always be displaced.  Her neighbors, she explained, seemed to believe that she had fled from her home because she had done something wrong.  This infuriated and pained her.  What was she guilty of?  Of wanting to bring her boys up in peace?  Of wanting to provide her boys with a safe place to call home?  Of not wanting to live a life governed by terror?  Of refusing to go mad?  She had committed no crimes, she insisted, and yet she and her children were ostracized.  She then told me, with conviction, that she could forgive the men who threatened her, persecuted her, and took her previous life from her, but would not and could not forgive the rest of society for not holding these real criminals accountable for their dastardly deeds.  Justice, Marta told me, would never come to Colombia’s four-million Internally Displaced People until the rest of the country acknowledged their innocence and recognized the fact that they were the victims of a terrorist plot by the paramilitaries and the para-political politicians to control the land. 
Just in case I had not understood what she meant by this, she told me another story of displacement: this time, it concerned her father and mother.  When Marta had first been forced to “sell” the plot of land that her father had given her and flee her home for the imagined safety of another home in a nearby town, her father had told her that he would never sell his property to the paramilitaries and that they would have to kill him before he’d sell.  He had meant to assure her that she would always have a real home to return to some day.  But the paramilitaries came one night for her father.  They insisted that he knew where the guerrillas hid their arms and forced him to march for three days in search of some imagined stockpile of weapons about which he knew nothing.  At the end of three days and nights of constant marching at gunpoint, they returned him home, beat him to a pulp, and left him for dead.  When news of these terrible events reached Marta, she left Santa Marta and returned “home,” as it were, to her father’s house.  He was not anywhere to be found.  Her mother was also gone.  None of the neighbors wanted to tell her where they had gone, but she eventually learned from an old friend of the family’s that they were in a neighboring town, in the hospital, where her father was slowly recuperating his strength.  With tears in her eyes, she told me that her father and mother would soon be joining her in Santa Marta.  It seemed her father had finally been persuaded to “sell” his property after all.
Marta’s story impressed me then, as it still does now, as being precisely the sort of story that can guide those who hear it into the unique, peculiar, and plural places that displaced people are forced to call home; it is the sort of story that asks us all to occupy these places emotionally.  I believed then, as I still do now, that such emotional intimacy is required of us all if we are to fully understand the moral and political implications of forced displacement in our time.  The horror we feel when confronted by the brutal cruelty that Marta and her family have faced; the anger we feel when we learn of the injustices she has suffered; the sympathy we feel when we contemplate Marta paralyzed by paranoia: all of these emotional responses bring us as close to displacement as we must get in order to understand just how unbearable it is.  Knowing this, we will surely want to make it stop.  Won’t we?
The first thing I did after I heard Marta’s story was to write it all down in great detail.  In a fit of quixotic idealism, I had convinced myself that, if I could only publish Marta’s story in the United States, it would help improve US-Colombia relations.  After all, I reasoned hopefully, who could read such a terrible story and not be moved by it to demand that the US government seek a non-military solution to Colombia’s on-going civil war: a war that is funded in large measure by Americans, whether illicitly through the drug trade or licitly through Plan Colombia.  The fact that I have here decided to retell this story, even if only in a summary fashion, suggests that I still harbor this idealistic hope for an enlightened US policy vis-à-vis Colombia.  Be this as it may, it is also true that the magnitude of the violence and human suffering in Colombia has forced me to place checks on this hope and acknowledge the very real limits of what I or anyone else who retells such stories can do to help resolve the conflict and ameliorate the suffering in Colombia. 
Maybe a week or two after I had sat down with Marta, an anonymous phone call was placed to my home in Santa Marta.  The voice on the other end of the line delivered a cryptic message: “Tell Mr. Britt that he is running into danger.”  Was this a warning?  Was it a threat?  Everyone I asked agreed that, given the situation in Colombia, I would be wise to interpret it as a threat.  So I did.  Initially, I was angered by my situation and wanted to lash out at my enemies.  But since I did not know who they were, I could do nothing but stew in my wrath.  Then, this anger turned against me in the form of a paranoid delusion.  Like Marta before me, I feared to leave my home, imagining that at any moment I would be shot to death.  So I found myself re-living what Marta had experienced.  I hid during the day, worrying; and I did not sleep at night, unsettled as I was by anxiety.  I lived those days in disbelief, alienated from myself and from a life I no longer governed.  I was fast becoming a slave to fear, to terror, to death.
One day, I mustered up enough courage to flee.  I fled to another city in Colombia.  But the distance I had managed to place between myself and my anonymous enemies in Santa Marta was not enough to quell my paranoia.  I had recurring nightmares where I found myself strapped to a chair, surrounded by enemies who were threatening to cut out my tongue and force me in that manner to obey their command to shut up, to say nothing, to write nothing about displacement in Colombia.  Feeling persecuted and in desperate need of security, I fled Colombia altogether and returned to my home in DC, the very home from which I had fled months before because I was feeling stifled by the security for which I now longed.
When I arrived in the States I passed through security gates at the airport in Miami.  Usually, I take offense at the extent of such security measures; but on this occasion, I felt comforted by the sight of so many Homeland Security officers, so many sharply dressed policemen and policewomen.  Their presence meant I would no longer need to fend for myself.  The Department of Homeland Security was there to protect me.  My enemies, the terrorists who I had left behind in Colombia, would first have to get passed this formidable shield of security if they wanted to get to me.  Taking refuge in this knowledge, I began to relax; but only a little bit.  Although I did feel that America’s security forces had lifted a terrible burden from my shoulders –I would no longer need to defend myself by myself—I still also felt unsure of myself.  The death threat that I had received had shaken me to the core; my confidence had been shattered; I had lost my hope.  I felt tiny, scared, and ashamed.
After a month in DC, which I spent nursing my wounds, I returned to Santa Marta.  Was I being courageous by going back or just stupid?  I still could not know.  All I did know then was that my wife and son were in Santa Marta and that without them at my side my life could not be whole.  So I returned to my home away from home in Santa Marta hoping to gather together the shattered pieces of my life and come whole again.  But I never did.  I could not go back to that place where my life had been threatened and resume the life of the person I had been prior to that threat.  My brush with death had transformed the eagerness, idealism, and bold conviction with which I had initially investigated displacement into attitudes I now regarded ironically as opportunism, cynicism, and timid bravado.  In fairness to myself, I should say that by returning to Santa Marta I did face my fears, which suggests that perhaps I was not quite as opportunistic, cynical, and timid as I was making myself out to be at the time.  But in all fairness to historical truth, I should also say that, once I was back in Santa Marta, I never did go again to visit those marginal neighborhoods in the city where thousands of displaced people eek out their existence, and I never did speak to any of those people again.  I wanted to believe that by returning to Colombia to face my enemies I was conducting myself after the manner of an epic hero, as someone who would face his enemies and reclaim his rightful place at home; but the truth of the matter is that I was only conducting myself as an erstwhile naïve intellectual whose brush with death had disenchanted him.
Being threatened with death taught me to keep my place as an intellectual: I could presume to speak for the displaced; I could retell their stories and reflect on their horrible experiences; but I was to do so from a safe distance, secure in my knowledge that, insofar as I was an intellectual, it was perfectly legitimate for me to talk and write about displacement without actually needing to imitate it.  Yes!  Being an intellectual in a lettered city has its definite advantages.  Chief among these is the ability to express one’s solidarity with the displaced from the comfort and security of one’s own displaced reality: the displaced reality of one’s metaphorical, linguistic, and cultural displacements: the displaced reality of one’s theoretical sympathies for the down-trodden: the displaced reality of one’s own schizoid condition as an opportunistic, disillusioned, double dealing intellectual.

  
5
Prior to moving to Colombia for a year, I had become disenchanted with the limited role that I had devised for myself as an intellectual.  I was simply a private intellectual, working at a private institution of higher learning, where I regularly taught classes on the public intellectuals of nineteenth and twentieth century Spain and Latin America.  Would I ever cease talking privately about the virtues and vices of the public intellectuals of the past and try becoming a public intellectual myself?  Would I ever move from the comforts of arm-chair theorizing into the discomforts of real life practice?  Or would I simply spend the rest of my adult life teaching, preaching, and leeching off the past?  Courageously, or so I thought, I dared to step beyond the circumscribed limits of my field of expertise and made a concerted effort to get involved as a public intellectual in one of the major moral and political crises of our time viz., the forced displacement of millions of terrorized people in Colombia.  I had wanted to take these matters into my own hands, as it were, and proffer both a critique of this crisis and attest to a better way of life.  Doing so, however, implicated me in the very terror I had sought to denounce, and it set me fleeing also in search of a better life.  Rather than mediate the crisis I had set out to resolve, I naively imitated it.  To the crisis of Colombia’s forcibly displaced people, I had added my own crisis of legitimacy as an intellectual.  I had failed as a public intellectual.  My failure was due, in no small measure, to the naïveté with which I approached the on-going crisis in Colombia; I truly believed that as an intellectual I could and would conduct myself with integrity; I genuinely believed that there could and would be no limits to my professed solidarity with Colombia’s downtrodden.
        Today, I am doubly disenchanted.  In addition to being disenchanted with the limited role I have tended to play in our world as a private intellectual, my failed attempts at re-inventing myself as a public intellectual have also disenchanted me.  This second disenchantment has compelled me to turn toward an analysis of my unhappiness and to acknowledge the role that I have unwittingly played in creating its conditions.  Although I wish it were not so, I am in truth responsible for the sense of shame that I still feel today when I remember how, in the face of death, I elected to flee from Colombia.  The truth, the ugly truth, is I cared more for my own life and my own well-being than for the lives and well-being of Colombia’s terrorized, dispossessed, and displaced.  The truth was then and remains today that my professed solidarity with the downtrodden had and has very real limits.  Those limits are my own happiness, my own health, my own freedom.  They are selfish.  They mark my difference from those downtrodden people to whom I offer my solidarity. 
Is this too harsh an assessment of my intellectual interventions in Colombia’s humanitarian crisis?  Perhaps it is; but such brutal honesty serves to illustrate that there really can be no better critique of how intellectuals conduct themselves save their conduct as intellectuals.  Earlier in this essay, I claimed that there is far too much at stake in our world for intellectuals to care too much about themselves and not enough about the world they live in.  When this statement is properly re-contextualized within the overall narrative structure and confessional themes of this essay, it resonates with definite irony.  For, although it is certainly true that I have here re-told the terrible story of Marta’s double displacement, it is also true that, in the process of doing so, I have indulged in precisely the sort of self-consumed and self-obsessed intellectual self-analysis that I earlier claimed intellectuals should avoid.  No doubt, my unhappiness as a disenchanted intellectual seems rather inconsequential when it is set alongside the suffering of people like Marta, whose lives have been shattered by terror.  Yet, the crisis of my legitimacy as an intellectual does matter, if for no other reason than that it gets in the way of what matters even more, which is the ability of intellectuals to effectively denounce the moral degradations of our time while attesting to the possibility –however remote it may be—of a better form of life.

Christopher Britt Arredondo teaches Spanish and Latin American literature at George Washington University (Princeton University Ph.D., 1998).  He is the author of Quixotism (2005) and is currently revising a book manuscript on cross-cultural displacement, titled Exiled at Home.  He is the author of various essays that study the role of the intellectual in the formation of nationalist and pan-nationalist identities in Spain, Latin America, and the United States.  His research centers on the conjunction of aesthetic and political discourses in national, imperial, and post-colonial contexts.

A Forgotten Essay Written by an Imaginary Student During a Lost Semester in a Make-Believe University

DANIELLE CARLO



        Fernando Robles, Pepenador del siglo XXI/ 21st Century Scavenger (Acrylic and oil on canvas: 200 x 150 cm, 2004)




“Education/ is the inoculation/ of the
incomprehensible/ to the (idiot) innocent/ by
the incompetent”.

—Nicanor Parra, Artefactos, 1972


                                         
“An elective course on Haiti was recently offered at the university that I attend. It was the first course on Haiti I had ever taken—or come across—in all my years in academia. I am baffled by the fact that I have only now been confronted with Haiti as a place to be studied and examined in my graduate years, and only by chance, as the Haitian Revolution is an event that is central to any historical or literary study of the Caribbean, Latin America and North America, all of which have been my academic concentrations. Without proper knowledge of the events of the Haitian Revolution, or of Haitian history in general, I do not believe that one can fully grasp literature written in and about the Americas during that period.  That one can study in an academic department such as Spanish and Portuguese and never have a direct encounter with Haiti is evidence of the failure of increasingly specialized intellectual departmentalization. The rigid departmental structures that define one study or another, and the geographically and linguistically limited composition of these studies, make it possible to develop a very narrow view of world history as much as it guarantees the development of specialists on subjects that are of broad interest, or that guarantee a job due to their highly specific nature. 
        In Departments of Spanish and Portuguese, the languages, and the places where they are spoken, define the literature that is considered pertinent to the field. Although it must be said that the idea of a field has become broader and more comparative in the postmodern university –as one can imagine a Department of Spanish and Portuguese covers a very wide geographical and cultural area–there are still boundaries not readily, or easily crossed.  The case of Haiti is a prime example of this situation, as it does not seem to have a niche within the most common academic departments in the Humanities and Social Sciences. Clearly, Haiti does not fit linguistically with a study of “Spanish and Portuguese,” but its geography, its history, its racial profile, its culture, and its revolution have everything to do with many important events in Caribbean and Latin American history as well as the history of the United States. Haiti, its revolution, its literature and its culture, haunt any study in “Spanish and Portuguese,” “American Studies,” “African American Studies,” or “American History,” and most other fields in the Humanities and Social Sciences that focus on the Western world.  As a topic, it floats in and out of view, often disappearing completely without a trace, but always reappearing as a precursor to the slave rebellions in the North American South, as the unspoken location of black Voodoo magic, as the inspiration for so-called magical realism in literature, and as an example of the hypocrisy of the Enlightenment.
       The lack of historical writing, studies and courses on Haiti can be attributed to many political, economic and cultural factors. To simply say that deep-rooted undercurrents of racism and revisionist historical trends in the Western academy are the main reasons for this lack is an oversimplification of a much larger and older problem. The underlying factors mentioned above are complicated by the corporate university system, which is geared toward a highly specialized intellectual environment that allows areas of study, such as Haiti, to be lost in departments of Comparative Literature, lost in-between departments, and mostly lost because there are no jobs that call for a knowledge of this country and its revolution. Economically, knowledge of Haiti is not viable, and it serves as an example of many other forgotten, or ignored places. Specialization in the languages, culture and history of Haiti are not strategic in political terms either, not in the same way that Spanish has been in the past. There is no need for university-trained imperial cultural ambassadors specialized in Haitian culture because there is no practical interest in this place as a colony or ally.
The following paper will concentrate on a reading of The Black Jacobins with the following questions in mind; How is it possible to ignore the Haitian Revolution, an event central to any study of the Caribbean, Latin America, North America, and Revolutions in general? Why would it be a topic ignored and overlooked?”
       The paragraphs above compose the introduction to one of many papers I have written as a graduate student, although this particular paper marks a moment in which I decided to break from the standardized paper writing format and actually engage in personal questions that pertained to my position as a student, and more importantly, as an intellectual. I step in at this point in order to offer commentary on the outcome of this specific paper writing experience. What follows in the body of the above essay is not as important as the beginning, as it was in this introduction where I most clearly offered my reflections on the institution in which I found myself and the conditions under which I was working.  In the class for which the paper was written, I was faced with texts, such as The Black Jacobins, which questioned my historical understanding and my foundation as a “Latinamericanist.” At the time of writing, I had been looking over my department’s canonical reading lists as well, and had become aware of the lack Caribbean texts, and, of course, the absence of anything Haitian, from these lists of major “Spanish and Portuguese” texts. I decided that I couldn’t simply, and honestly, write about a book such as The Black Jacobins, and an event like the Haitian Revolution, without mentioning their absence from my academic training. The most honest approach would be to question the departmental structures that define intellectual boundaries linguistically and geographically, even though, as I became well aware, these constructed boundaries create gaping holes in historical and cultural understanding. I did not, after perusing the most recent literature on the field, feel compelled to summarize and bibliographize in the usually acceptable formats. I did not concern myself with certain books because they were considered to be indispensable, or texts written by friends or colleagues of the professor, or by star professors and proclaimed geniuses of the field, as this would have been the usual pre-formatted collage that I decided to evade. Instead, I wished to engage with my personal reading experience.
        I completed the paper as honestly as possible and received it back shortly after.  I looked to the last page where I expected to find some sort of in-depth commentary, suggestions, or at least a generalized reaction, but instead found a one-page handwritten complaint, no interesting observations, no constructive criticism.  Beginning with the length:
        “A long paper—perhaps more a reflection of and on your encounter with Haiti and its history than a research paper.  The more personal approach is not inappropriate, given the ex-centric nature of our Haiti class.  But it’s a pity that it came somewhat at the expense of solid research and structure.”
        This “ex-centric class,” with very few students, was no more a justification for my personal approach as it was a symptom of institutional failure and evidence of the fact that Spanish language instruction machines, graduate students in Departments of Spanish and Portuguese, are encouraged to stay within the centralized vision of the Spanish speaking world in their doctoral studies, perhaps branching out to Portuguese texts as an afterthought, and to any other linguistic or geographical region, no matter the historical and cultural connections, as disconnected and disengaged acts of intellectual tourism.
        My professor’s initial comment was followed by an expression of surprise about the fact that I hadn’t cited several important books on the topic, this is literally underlined in the last words of the complaint: “it’s a shame you didn’t do it.” This shameful absence of textuality, coupled with my lack of precision, which was highlighted by many short reminders throughout the essay to “be more precise,” spelled out my failure as a scholarly writer. 
        I did not expect much more, I actually got more than I expected.  Direct proof of the pseudoscientific separation of “academic” and “creative” writing, “solid research” from “reflection.”  This differentiation is a dangerous turn in the Humanities as it promotes the standard critical mediocrity kept alive by constant reiteration, recitation, and regurgitation of jargon in formats that leave all real critique aside. It is an expression of the fear of individual thought and self-reflection, perhaps what my professor called a “personal approach,” that makes academic writing sterile in every sense of the word.  When one hears, “it should read like a scholarly essay,” does this word scholarly imply a bibliography? Are scholars simply bibliographers? Is scholarly freedom only expressed through the addition of a sentence here and there to an already exhausted conversation? Perhaps. 
        I attempted to avoid a bibliographic approach in my essay. In the conclusion, I wrote about the importance of vigilant historical education and active literary comparison in order to properly attack current situations that leave intellectuals tongue-tied, such as the War on Terror or intellectual censorship. Departmentalization, field studies, concentrations are words that mark and advertise closed-mindedness, blindness, an absence of historical sense, a lack of history in general. The façade of intellectual openness and the wide range of scholarly options in academia in some way conceals its active role in the spread of historical amnesia, which is kept alive for many reasons by the full spectrum of bureaucratic and educational institutions. This is something I grew up with and grew used to. In many ways a lack of historical consciousness marks my identity as an American. My reflective and personal essay on Haiti was an expression of my desire to counter the fear and ignorance built into the educational system. In conclusion, I wrote the following, the semblance of my own thoughts and intentions for writing the essay in the first place:
        “Through the writing of this paper I realize that my initial questions need to be refined as studies are in fact being done on the Haitian Revolution, and classes are being taught here and there. My questions have become not why and how has Haiti been ignored, but more importantly why must it not be, what is it about this place and its revolution that make it essential to understanding the history of the Americas, of revolutions, of literature?  Haiti is an example of an extended and extensive crisis of racism and colonialism. Being aware of Haitian history is important not only because it sheds light on events often ignored, or because it draws attention to Africa and Africans as important factors in world history, a fact often disregarded, or because it serves as a key piece in the puzzle to understanding slavery and Western Democratic Revolutions in general, but also because insights into Haitian history, such as those in The Black Jacobins, translate to contemporary situations and incite a necessary reflection on these situations. Throughout the paper I have suggested that Haitian history is fundamental to the understanding of American history and a history of the West in general, in part as the revelation of the darker side of colonialism and imperialistic power. The question of why one should study Haiti today can be answered by the fact that the struggle in Haiti has not ended. It is the poorest country in the Western hemisphere. It continues to directly suffer the consequences of colonization.  What makes texts such as The Black Jacobins and studies of Haiti and the Haitian Revolution even more relevant today is that they serve as examples of the corruption of power inherent in empires. France’s desire for riches and gold, for all that Saint Domingue had to offer, can be paralleled to the current invasion of Iraq, where the most sought-after substance in the world, oil, is abundant. Oil today, like sugar cane yesterday. At this present time, the American empire has fully entered into an imperialistic phase marked by war, invasion and unchecked power. If any lessons are to be learned from the revolutions of the past, the study of the Haitian Revolution can shed much light on the complexity of revolutionary and territorial struggle when races and cultures clash. Toward the end of the Haitian Revolution, General Leclerc, the commander in chief of the French army wrote the following words to Napoleon in France as his army lay defeated, his men sick and dying:  “We have in Europe a false idea of the country in which we fight and the men whom we fight against.” While the US is on a crusade to control key locations in the Middle East, there is no doubt that the message of freedom and the imposition of democracy is underpinned by a blinding belief in the superiority of Western ways and traditions. The words of Leclerc above warn against this dangerous tendency to rely on beliefs of racial and cultural superiority to decide what measures should be taken with others.  These words also carry over to the present day and speak to the lack of information and knowledge that American citizens have about who we are fighting against and why. This ignorance goes beyond Iraq, as it can be said that Americans do not only have false ideas about who we are fighting, but rather we do not even know when and how we are fighting at all (the often forgotten War in Afghanistan, or the continuing War on Drugs in Colombia and other South American nations, to just give a few examples of this ignorance). The Haitian Revolution is only one of the many ignored or misplaced historical events, which bring to light recurring problematic themes that can be seen in current political and spiritual struggles, such as the War on Terror. Haiti, with its turbulent history of dictators and political unrest is a primary place to study the direct effects of varied forms of imperialism. In light of current events, the importance of the study of Haiti goes well beyond the need to expand our knowledge of its Revolution.”
         The essay ended there. I decided to meet with my professor not because I wished to work toward a better grade, but because I was concerned about the comments made regarding my choices; specifically, that my writing a reflective essay was deemed to be acceptable in this case, implying that in other contexts it would not be.  I explained to my professor that writing about my personal encounter with the material was the only honest option. I could not fit this encounter into a format and style that accounted for other people’s words. I did not feel that this would be appropriate, as I would be subscribing to a dubious structure that encourages ignorance and hypocrisy.  It was a simple exercise, a final paper which I used as an opportunity to exercise and flex my writing muscles, explore my various reflexive modes and methods, instead of learning to seamlessly integrate and imitate other writers, carrying on with the circular scholarly tradition of never venturing out of the model and mold, the MLA citations, the Chicago Manual of Style, the expectations of what a term paper, or any writing should be.
       My professor explained that my paper lacked “the edge” that was expected in graduate level papers.  I could have attained this ‘edge’ if I would have done solid research and practiced proper academic writing techniques. What is this edge? It is the perpetuation of certain structures of writing, reading and thinking, which are kept in place so that the current university system can survive and thrive. My professor’s final suggestion was the following: “If you want to write reflectively perhaps you should consider a creative writing program.” Creative writing programs: programs to harness and format creativity. It seemed even creativity had no place in a department of Spanish and Portuguese in the mind of this typical professor, except within the boundaries of programmatic creative writing certifications.  One who attempts to think, write or read for him or herself causes academics to be on edge, as this challenges the method and purpose of higher education as inoculation against intellectual freedom and creativity. 

Conversación entre Eduardo Subirats y Ángel Lozada en La Casa del Mofongo in Washington Heights comiéndonos un “sanculture”


Jorge Castillo, Persona sin importancia/ Person Without Importance (Oil on canvas: 150 x 100 cm, 1963)



sanculture. 1. m. Am. Escrito a medio cocer.Escritura caótica, preparada con malicia.Conjunto cultural de elementos sin orden.


Eduardo Subirats (ES): Querido Ángel. He aquí una situación paradójica. Te voy a entrevistar a Usted. Sin embargo, no soy su entrevistador. Soy tu “academic adviser.” Al entrevistarle estoy subvirtiendo las normas éticas de un departamento corporativo de “Humanidades.” Peor todavía: estoy burlando los corrientes códigos jerárquicos y autoritarios que definen institucionalmente la relación entre el director de una tesis doctoral y el doctorando en las instituciones académicas. Lo que tengo que confrontar de manera permanente en nuestro “Department of Spanish and Portuguese” es más bien el tratamiento administrativo de sus estudiantes postgraduados como inmaduros sujetos subalternos. La metáfora de la “maturity,” en inglés o en español, es vegetal y sexual. Cuando el fruto está maduro se lo puede uno comer. Pero la “inmadurez” que definió Kant en su ensayo sobre la Aufklärung, es decir, en su manifiesto programático sobre los contenidos éticos y políticos de una sociedad esclarecida en el sentido que la define la palabra “Entlightenment” (que carece de otra versión castellana excepto la adaptación cristianizada de los conceptos místicos islámicos y judíos del resplandor, el esplendor y la iluminación divinos), se pronuncia como “Unmundigkeit.” Esta palabra significa literalmente una ausencia de “Mund,” de boca. La inmadurez es la imposibilidad profesionalmente impuesta de ser reconocido como una existencia humana dotada de boca en un sentido literal y ontológico: la ausencia de habla en un sentido existencial que comprende la totalidad de la persona y de su situación espaciotemporal, es decir, histórica y cosmológica.
En fin, me refiero al derecho a la palabra en un sentido ontológico y existencial opuesto a los discursos escolásticamente vigilados por los administradores del conocimiento corporativo y de sus correspondientes jergas intelectualmente vacías…
Pero me deleita poder asumir el partido contrario. Desde que te conocí en un seminario del que no me acuerdo, y hace de eso unos ocho años, he seguido humilde y obedientemente los pasos de sus cambios intelectuales, literarios y personales. He reconocido la profunda sabiduría que subyace a estos procesos de real transformación. He sido consciente de las turbulencias con las que Usted se ha encontrado a lo largo de su camino. He sido testigo de las agudas crisis que ha atravesado Usted, tanto en un sentido físico como espiritual. He asistido a sus periodos de creatividad tempestuosa. He observado la repulsión administrativa a su libertad espiritual encarnada en las personas de mis propios colegas. Y hoy le expreso con el mayor respeto mi gratitud por lo mucho que he aprendido a lo largo de este viaje.
Pero ya basta de anécdotas. Usted es un escritor. Usted se presenta como un intelectual y ha sido jesuita, se ha iniciado en la Santería y ha entrado en el reino de la academia. Y además es gay. Y se ha incorporado oficialmente a un proyecto académico de investigación bajo el título “On Animalization…” en la New York University. En este tiempo ha adquirido el síndrome de VIH y esta realidad nueva ha transformado su vida y su manera de comprenderla. Usted ha sido marginado por los mismos académicos que pretendían y pretenden apoyarlo. Usted ha decidido abandonar su proyecto de tesis doctoral por ser demasiado académico y demasiado unchallenging desde un punto de vista literario, y ha abrazado en su lugar otro proyecto literario e intelectualmente mucho más creativo y ambicioso. Pero permíteme comenzar con algo que se parezca a un comienzo.
Su segunda novela, No quiero quedarme sola y vacía (San Juan, 2006), relata las miserias de un homosexual puertorriqueño que vive en New York City. Tu estilo no es “ficcional”, pero tampoco es “realista”. El lenguaje que utiliza en su novela es paródico, humorístico, y raya frecuentemente con lo chocante y lo escandaloso. Plantea dos problemas relevantes en el mundo que llamamos moderno para evitar un concepto más riguroso: en primer lugar, la soledad, el asedio social y la miseria existencial que acompaña la homosexualidad; y, al mismo tiempo, el acoso y la explotación económica a través del mismo sistema crediticio que ha colapsado a esta nación y al mundo entero. Sus amargas ironías, su honestidad y su valentía son características muy poco frecuentes en la comercializada vida intelectual contemporánea. Lo son todavía menos en las megamáquinas académicas. ¿Podría Usted comentarle a su audiencia las ideas, proyectos y sentimientos, tanto humanos como literarios (en una edad de literatura comercial infrahumana) que subyacen a su novela?

***

Para mí, todo lugar de enunciación es un lugar de abstracción, toda meditación es un proceso de auto-edición: Al umbral de la pandemia porcina, me alumbran cuatro lenguajes: el español, el inglés, el yoruba y el Spanglish. Me acompañan siempre unas amigas íntimas: la pobreza y las enfermedades venéreas; tres tradiciones religiosas (la católica, la santería y el espiritismo), tres modos de ver el mundo: el español, el americano y el yoruba; dos naciones: Puerto Rico y los Estados Unidos; la vida gay; cuatro enfrentamientos directos con la violencia: la animalización, la homofobia, 911 y la censura académica; dos novelas: La patografía y No quiero quedarme sola y vacía; dos fuentes de enorme placer mental: la literatura y la música; dos maestros: Eduardo Subirats y Diamela Eltit; dos fuentes de enorme placer físico: el sexo y las drogas; muchos perros y muchas “Bitches”, mucha rabia—es para mí ya toda una estética—, y por supuesto, un cóctel espiritual compuesto por San Ignacio de Loyola, la diosa Oyá y The Riverside Church; que mantienen mis adicciones a niveles indetectables.

***

Esta conversación deberá ser acompañada por el siguiente “playlist” iberoamericano de música clásica:
1. Gustavo Dudammel. Álbum Fiesta: “Sensemayá” y “Danzón 2”.
2. Heitor Villalobos. “Bachianas Brazileiras” e “Invocaçao em defesa da Patria”.
3. Stephen Hough. “My Favorite Things”.
4. George Gershwin. “Concerto in F” y “Rhapsody in Blue”.
5. Astor Piazzolla. “Le Grand Tango”.
6. Joaquín Rodrigo. “Concierto de Aranjuez”.
7. Frank Sinatra. “New York, New York”.

***

Una reflexión honesta sobre la experiencia de las diásporas iberoamericanas inevitablemente nos llevará, desde sus orígenes, a darnos un cantazo contra una enorme pared multilingüe. Daré algunos ejemplos: el español rudimentario de Cristóbal Colón, una diáspora africana y una población indígena que aún preservan sus raíces lingüísticas a pesar de cuatro siglos pedagógicos orientados a eliminarlos y a desarraigarlos cultural, espiritual y lingüísticamente, un continente americano entero para el cual el español es un idioma entre muchos otros, el Spanglish de las comunidades hispanas dentro de los Estados Unidos, y la experiencia de una península ibérica que es cuna de muchísimos lenguajes, pero que históricamente le ha dado primacía a sólo dos (el español y el portugués). El “Hispanismo” se enriquecería muchísimo si asumiera esta complejidad como su base ontológica y epistemológica y si comprendiera que debido a esto, nuestra disciplina no puede orientarse hacia un solo lenguaje, o una sola región geográfica o mental, o hacia el discurso de una sola clase social, o hacia la preferencia de un puñado de ideologías y de maneras de pensar, o hacia un solo misticismo (cabe recordar aquí que la España de la pre-conquista fue un centro de fructífero encuentro entre las tres religiones abrahámicas pero que violentamente expulsó de su suelo a los judíos y a los moros y que hasta el día de hoy los excluye de su formación nacional literaria) o hacia el estudio de un solo continente, y que debería ser siempre inclusivo y de naturaleza eminentemente comparatista, considerando que Hispania siempre ha sido una y diversa.

Los cubre-bocas. Las imágenes que nos llegan de la gripe porcina me provocan pavor. Me evocan tres temores viscerales: el primero tiene que ver con el VIH. Basándome en la incompetencia y lentitud burocrática que todavía muestran los gobiernos latinoamericanos para combatir la epidemia del VIH-SIDA, y experimentada en carne propia como escritor seropositivo, me temo que en la próxima pandemia va a morir muchísima gente. El segundo es más siniestro; yo lo llamo el síndrome de Noé: Having survived the AIDS epidemic and having lost so many dear friends to that flood, I do not think I can stomach another pandemic. Therefore, I want to be one of the first ones to go. You see, like Noah, I don’t want to end up naked and drunk. Y por eso todos los días le mando emails a mis amigos escritores de México, especialmente a Miriam Morales, a Patricia Mazón y a Luis Martín Ulloa. Esta obsesión me impide despegarme de las noticias y necesito que me escriban. El tercer temor activa fuerzas históricas de mi subconsciente y me causa repulsión y coraje: Los cintillos sobre mi boca en la portada de mi segunda novela, los tapabocas y el que se me mande a callar. Las imágenes son claras: Esta próxima pandemia tendrá que ver con el control de la voz y con los que están autorizados a hablar por los medios como el presidente de México, Felipe Calderón y sus jefes de gobierno (hombres criollos blancos de obvia descendencia europea), súper bien vestiditos y recortaditos, y repetidos por Jorge Ramos y la prensa de Univisión, asumen “emergency powers” (esta expresión siempre me recuerda al Senador Palpatine de La guerra de las galaxias), mientras que a la desamparada población pobre de rostros indígenas y mestizos se les promete medicamentos y futuras vacunas, pero sólo se les tapa la boca con máscaras azules y se les ordena que se encierren en sus casas mientras se clausuran las clínicas hacinadas.

Esto me lleva a retomar el primer curso que tomé contigo sobre el Postmodernismo que me marcó como intelectual, no sólo por las lecturas de los pensadores que estudiamos (Jameson, Horkheimer, Adorno, Debord) si no también por las propuestas que muchos de ellos hacían. Los postulados que más me calaron fueron los de Lyotard y su propuesta de “language games”: El calentamiento global no es un juego del lenguaje, como tampoco lo es la epidemia del SIDA, ni lo es 9-11, ni la guerra contra el terrorismo ni el bombardeo sobre Bagdad, ni las amenazas televisivas norteamericanas de “shock and awe”, ni la proliferación de bombas atómicas. Ahora bien, casi todas estas crisis generan una industria multimillonaria de conferencias, organizaciones, congresos en hoteles carísimos, viajes de lujo para los activistas y defensores de cuanta causa justa habida y por haber, websites, y produce una ola de “language games” que terminan casi siempre “resolviéndose” con ruedas y conferencias de prensa, “town hall meetings” y espots televisivos y aplausos, salpicados aquí y allá por alguna que otra manifestación controlada casi siempre por gases lacrimógenos y manguerazos, a los cuales ya todos nos hemos acostumbrado, y en anuncios tan descabellados como los que prometen acceso a los medicamentos para los africanos infectados con VIH antes del 2009, detenimiento de la deforestación del Amazonas y de reservas forestales que ya sólo existen en mapas de la ONU, el detenimiento del descongelamiento de los glaciares; y cuyos más burdos ejemplos lo están dando ahora mismo dos presidentes y sus respectivas naciones: Barak Obama y Felipe Calderón. El primero promete villas y castillas mientras hunde a los Estados Unidos en un déficit presupuestario multi-trillonario que jamás podrá pagar, imprimiendo dólares como si fueran confeti, escudándose tras un cuidadoso velo mediático-mesiánico de sonrisas raciales. El segundo hace alucinantes promesas de derrocar los carteles de drogas en su país (con uno de los gobiernos más abiertamente corruptos que ha parido el hemisferio) y detener la propagación del virus de la gripe porcina (con uno de los más ineficaces y miserables sistema de salud pública que ha parido el tercer mundo latinoamericano). Ambos presidentes hiper-crecen sus gobiernos en los mastodontes burocráticos más gigantescos e ineficientes que ha presenciado la historia de la humanidad.

Who do these leaders think they can fool?

ES: ¿La academia, la megamaquina de la formacion academica, en el doble sentido, militar y educativo, de la palabra formar, su experiencia en la academia norteamericana y en NYU, la incapacidad de la academia de responder de manera reflexiva frente al colapso del mundo actual? ¿Qué piensa?

Back to the subject of “cubrebocas:” Le tengo un odio visceral a la sumisión académica. Y especialmente, a la que practican los hispanistas. Especialmente a la que practican los académicos gay. Y especialmente, a la que he presenciado en NYU y en la Universidad de Puerto Rico. Y concuerdo con un poeta español, ignorado y desconocido por todos nuestros “prestigiosos” departamentos “iberoamericanos”, José Manuel Caballero Bonald: “La gran literatura la han hecho siempre los desobedientes.” Y es precisamente aquí donde comienzan mis problemas. Comienzan con una irritación permanente que me incomoda ante toda imposición, venga de quien venga, y especialmente, la que se practica a través del lenguaje y de la enseñanza de la Literatura. Y más, cuando esta enseñanza está plagada de ignorancia y prejuicios.

Démosle un vistazo, como punto de partida, al “hallmark” de nuestro departamento:
  1. “The hallmark of our department is its trans-Atlantic and inter-American focus”. ¿Qué literaturas africanas se estudian en nuestro departamento? ¿Qué literatura española, o portuguesa, o mexicana, o puertorriqueña, o dominicana, o colombiana, o peruana, o venezolana, o centroamericana, o de las comunidades hispanas en los Estados Unidos se estudian en nuestro departamento? Excepto por la privilegiación de las literaturas de Cuba, Argentina y Chile, ¿qué literaturas de otros países latinoamericanos se estudian a profundidad en nuestro departamento?
  2. “We bridge traditional divides between Spain and Spanish America; between North and South America; between Portugal, Brazil and Africa; and between Spanish America and Brazil, in order to rethink historical, literary and linguistic boundaries from new perspectives”. ¿Qué enseña nuestra facultad sobre África? ¿Qué curso graduado se enseña en nuestro departamento sobre las literaturas y los idiomas de Norte América, Portugal y África? ¿Qué conocimiento demuestran nuestra facultad y nuestros estudiantes sobre las comunidades latinas en los Estados Unidos?
  3. “Thus our endeavor is essentially comparatist in nature, as it must be in an increasingly complex and interconnected world”. Añadiré aquí una lista de sonoros conceptos y me preguntaré: ¿qué significan, cómo se enseñan y cómo se llevan a la praxis y se consideran en la reflexión intelectual que se supone exista en nuestro departamento los siguientes conceptos: historia, literatura, lingüística, latinoamericanista, filosofía, modernidad, tras-atlántico, español?

Tanto la colonización española como la portuguesa provocaron, no sólo la expulsión de los españoles judíos y árabes de la península y el vaciamiento físico y espiritual de las civilizaciones indígenas encontradas en América, sino también a través de la destrucción de vastas civilizaciones africanas, un tráfico trasatlántico cruel de poblaciones enteras, separación de familias, esclavitud de millones de personas, en un genocidio y exterminio gubernamental, sistemático y avalado por la Iglesia Católica que no tiene comparación en la historia de la humanidad. Así se asentaron las bases del sistema capitalista moderno que hoy en todos los lados se celebra sonoramente con conceptos históricamente vacíos denominados como “transculturación”, “globalización”, “multiculturalismos” e “hibridismos”.

Cóctel canónico contra el SIDA: La lista de lecturas del doctorado en Español de NYU me provocó estupor, acompañado por un aburrimiento tal, que me dejó prácticamente en un estado intensivo-intelectual de repulsión, de risa y de puro shock. Cuatro años después y todavía estoy en proceso de lenta recuperación. Mi sistema in-mundo-lógico está por el piso. Mi carga verbal está por las nubes. El diagnóstico es grave: Síndrome Intelectual de Demencia Académicamente Adquirida (SIDA) que actualmente combato que con un cóctel literario que consiste, única y exclusivamente, de las siguientes pastillas: Reynaldo Arenas, Miguel de Cervantes, Julio Cortázar, Federico García Lorca, José Eustacio Rivera, Mario de Andrade, José Lezama Lima, Clarice Lispector, Virgilio Piñera, Augusto Roa Bastos, Juan Rulfo y Severo Sarduy. ¡NADA MÁS! Y el que quiera estudiar “creative writing” conmigo, que primero se tome esas doce pastillas. El resto del canon iberoamericano, échenlo a la basura. Empezando por Borges y terminando con Saramago, García Márquez, Carlos Fuentes, Vargas Llosa y Arturo Pérez Reverte. ¿Cuándo se acabarán de morir para que dejen de escribir? Déjenlos que cojan polvo en las mentes de los académicos hispanófilos. A la generación del crack y a la literatura de Bolaño hay que lanzarles un cóctel molotov: Volpi, Paz Soldán, Fuguet, y sus camaradas son todos una ganga de imbéciles engreídos. ¡Que los aburra Alfaguara! Sobre la literatura puertorriqueña: NO LA TOLERO. A new class of literary inhibitors has to be developed to combat the spread of Latino Writers in the US.

But who cares about this reading list anymore? Who gives a damn about literature for that matter? Who gives a FUCK about Latin American and Spanish writers anymore? Esta lista de lecturas de PhD fue abandonada hace muchos años, como fue abandonada la enseñanza del idioma español y como ha sido abandonada la alta literatura como corpus de lectura y de formación cultural y literaria. En nuestro departamento nadie es capaz de leer sistemáticamente nada, no se respeta la autonomía de la obra de arte ni tampoco hay instrumentos reales de análisis. La palabra canon ya no existe en el lenguaje, no por abrir la posibilidad a una multiplicidad de literaturas, sino para eliminar la literatura, igualar a Lezama o a Sarduy con Laura Restrepo y Alberto Fuguet porque todos son textos. ¿A qué descabellada se le puede ocurrir semejantes pamplinas?

***

Dicenteredness and De-focalization are intentional, as verbal and writing expressions of academic and intellectual dissent: Estoy preñado de los conocimientos más amargos: Pertenezco a un linaje de escritores y artistas que han sido animalizados, colonizados, sexiliados hasta de sí mismos, penetrados, infectados y censurados: positivos, promiscuos radicales, pobres, hijos ilegítimos de muchos padres desconocidos, refugiados médicos, afeminados, degenerados y des-gendered, invadidos y habitados por trillones de microbios y virus, y todos, de una manera u otra, con nuestras esperanzas quebradas. Por eso compartimos una misma frustración, una misma irritación, una misma desobediencia y un mismo límite interno: el fracaso espiritual, intelectual y político de unas culturas, tradiciones e instituciones que de una manera u otra nos han rechazado y fallado.

ES: ¿Sin embargo…?

Sin embargo, me acompaña en mi escritura la Diosa Oyá: Este cielo nublado me provoca un estado de trance intelectual y creativo donde asumo sus atributos. El viento acaricia mi rostro y me eleva. Ella es la orixa guerrera que me escogió como hijo. Diosa del Río Nigeria y asociada en el santoral católico con Santa Teresita de Ávila o con la Virgen de la Candelaria, Oyá-Yansán es la diosa de la muerte, de los vientos huracanados, de todos los cambios drásticos, de la centella y del vino. Es ella la más enjoyada, la más pretenciosa, la verdadera reina de la dinastía de los poderosos hijos de Odduduwa, que ayudó al mismísimo Shangó a ascender al poder y a consolidar uno de los imperios más poderosos que han existido sobre la faz de la tierra. Es diosa también de la locura. Ella vive en el rompimiento del vidrio, en las fisuras y grietas, y en el rasgo de las telas. Cuando baja, baja con un machete arrasando para abrir el camino al cambio, al progreso, a los nuevos conceptos y pensamientos, a las nuevas formas de ver las cosas, a la innovación. Oyá es la diosa de la desobediencia. Del "dissent." Del dissent as descent. Y así quiero ser yo. En honor a ella me paro en los precipicios, en las catástrofes, en la contraria. Consciente de que ese mismo ciclón, esa misma diosa que me ama tanto, en cualquier momento puede precipitarme. Como ella, sonrío y busco a todo aquel fuerte y joven que todavía se agita y que todavía sueña para iniciarlo en el lenguaje de las riquezas, de la soberanía, de la belleza y del poder. Ella soy yo y yo soy ella. No hay nada que aborrezca más que la ignorancia, la fealdad, la humildad y la cobardía. Por eso asumo siempre posturas de cambio radical y total. Me ubico más allá de los límites de lo que todavía no puede ni tan siquiera nombrarse. Erupciono fuego por la boca. Jecuajei. Destructivo y caótico, pero transformador, sin mí, no puede ocurrir el progreso. Abro grietas para poder gritar. Precipitándome y manifestándome.

En otras palabras, mi descarga intelectual es categoría cinco: constantemente reorganizo mi propio proyecto artístico, espiritual y literario como si fuera una tromba: azoto la ignorancia, la imbecilidad y todas las censuras y autocensuras y todos los esfuerzos que pretenden uniformar y subyugar el pensamiento de la gente, entendiendo, que estos procesos son todos sumamente violentos y que dejan profundas heridas y cicatrices físicas, sicológicas y lingüísticas. En mi caso sólo puedo hacerlo volviéndome un remolino y absorbiendo la frustración formal que me causa una literatura iberoamericana que no me sirve para nada porque se originó precisamente bajo un proyecto civilizatorio español de un colonialismo profundamente católico y machista, contrario a cada fibra de mi ser, por una algarabía de papagayos, en su mayoría homofóbicos, que rechazan todo lo que yo soy o represento, por un canon originalmente formulado por una clase española y criolla excluyente y en decadencia, cuyas expresiones culturales son sumamente banales, superficiales, exclusivistas de todo aquel que no piensa como ellos ni adora al dios de ellos, miserables y completamente incapaces de aportar nada positivo a la condición en que se encuentra el mundo, y que hasta el día de hoy ejercen unos tenaces esfuerzos institucionales para excluir, eliminar y silenciar mi literatura y las pocas cosas que escribo y digo.

No puedo hacer más.

Intensificándome. Materializándome. Manifestándome. Precipitándome.

¿Y cuando termine esta tormenta, qué? Les aseguro: aumentarán mi intensidad y frecuencia.

Sólo la sangre aplacará mi divinidad.

La humedad de la calma me produce un enorme placer...

***
censura. (Del lat. censūra). 1. f. Dictamen y juicio que se hace o da acerca de una obra o escrito. 2. f. Nota, corrección o reprobación de algo. 3. f. Murmuración, detracción. 4. f. Intervención que ejerce el censor gubernativo. 5. f. Pena eclesiástica del fuero externo, impuesta por algún delito con arreglo a los cánones. 6. f. Entre los antiguos romanos, oficio y dignidad de censor.

censurar. (De censura). 1. tr. Formar juicio de una obra u otra cosa. 2. tr. Corregir, reprobar o notar por malo algo. 3. tr. Murmurar, vituperar. 4. tr. Dicho del censor oficial o de otra clase: Ejercer su función; imponer, en calidad de tal, supresiones o cambios.

requisar. tr. Hacer requisición de caballos, vehículos, alimentos y otras cosas para el servicio militar. 2. tr. Der. Dicho de la autoridad militar, en tiempo de guerra, o de la autoridad civil, en caso de calamidad pública: Expropiar, con efecto inmediato y sin seguir el procedimiento ordinario, cosas, derechos y servicios.


ES: Ahorita, si habla Usted como Usted habla, o sea, libremente, creativamente, le cortan la lengua con las tenazas de la escritura. Si habla fuera del prescrito script de los clérigos letrados no se le escuchará. Sólo puede decirse en la academia lo que está previamente cifrado. ¿Es por eso que intentaron picar su provocante novela de un homosexual puertorriqueño sitiado en New York por la soledad intelectual, la miseria cotidiana y las torturas de los agentes y las agencias de crédito? ¿Por qué cree que esta novela ha suscitado una reacción tan agresiva en Puerto Rico que ha provocado la destrucción final de su edición? ¿Y por qué cree que incluso una Universidad y un Departamento de Literatura que exhiben tanto interés e incluso un verdadero compromiso con los tópicos y significantes relacionados con la homosexualidad y los temas queer ha ignorado su novela y censurado su posición intelectual?

Mi versión de los hechos: a un puñado de profesores de la Universidad de Puerto Rico no les gustó mi abierta crítica a la academia puertorriqueña, ni las parodias que les hice a sus amigos y a los académicos gays de Puerto Rico. Entonces, llamaron al Editor de Isla Negra y lo intimidaron. Y él, en reacción y bajo miedo, retiró mis novelas de las librerías el segundo día que estaban puestas a la venta. Además, me amenazó con destruir la edición completa de la obra si no modificábamos los párrafos. Entonces, no me quedó otra alternativa que ponerle un abogado y amenazarlo con llevarlo a corte.

¿Cómo se entiende esto? Si el retirarte las novelas de las librerías no es censura, dime qué es. Si el amenazarte con picar tus 250 novelas, después que había pasado una mañana entera en la Librería Mágica firmando los ejemplares no es censura, dime qué es. Si el ponerle un "cintillo rojo" y un "disclaimer" a la novela para eximir al editor de la responsabilidad de lo publicado no es censura, dime entonces qué es. Si el amenazarte en almuerzos con jamás ayudarte, ni a promover la novela ni a conseguir trabajo como profesor en la Universidad, como me advirtió el mismo Prof. Rubén Ríos en un almuerzo, no es censura, dime qué es.

Yo subestimé el poder de la censura y a las fuerzas desiguales que ésta desató: Además de que la amenaza de la picada de mi obra casi me enloquece; y de que prácticamente tuve que estar dispuesto a robarme mi propia novela porque temía que no fuera a sobrevivir -- gracias a Dios que el dueño de la Librería Mágica me regaló veinte ejemplares para que así no tuviera que robármelas, porque a eso estaba dispuesto--; mi segunda novela todavía no ha tenido un lanzamiento "normal" como lo deben tener todos los libros y nunca ha sido reseñada en los mayores periódicos de Puerto Rico ni presentada en ninguna librería de la Isla. Si esto no es censura, ¿qué es? Y, como toda censura es un arma de la violencia, tú sabes que has sido víctima de un acto de silenciamiento y de violencia cuando odias a todo el mundo y tienes que disparar contra todos y no puedes controlarte. "Thats what violence does."

Requisar la novela entonces fue, porque el editor no se imaginaba que había derechos de autor que me protegían: en el caso de Puerto Rico, dos leyes, las puertorriqueñas y las de la UNESCO, explícitamente prohíben la destrucción de la obra del autor sin su autorización. Pero censura fue cuando estos académicos, con llamadas telefónicas tras bastidores intimidaron al editor de Isla Negra a tal grado que retiró las novelas de las librerías y sólo las volvió a poner en los estantes cuando yo lo llevé a corte.

Pues aquí voy: además de que el editor no tiene cojones, es evidente que no leyó la novela antes de mandarla a la imprenta. Puerto Rico no tiene un grupo de editores al estilo tradicional de los Estados Unidos de a principios de siglo XX, donde el editor leía cuidadosamente sus manuscritos y era versado en literatura y rescataba a escritores de calidad que no necesariamente se ajustaban a los parámetros establecidos por la literatura de la época. Los editores de Puerto Rico son, funcionalmente, pequeños inversionistas asociados con imprentas y con micro mafias de intelectuales a las cuales no entra nadie que no piense como ellos. En otras palabras, esa misma formación literaria hispanista que tienen estos editores corto-circuita su capacidad de poder identificar talentos literarios alternos o que no se conformen a las pautas establecidas por los mercados editoriales, o por la formación hispanista, o por los grupitos intelectuales que reinan en las universidades.

Por un lado, los editores de Puerto Rico publican para que sus amigos profesores en las universidad consuman sus libros y los asignen en sus clasecitas de literatura. Por otro lado, las grandes editoriales de Iberoamérica buscan un denominador común de lectores que asegure éxitos de mercado, y su interés no es precisamente publicar buena literatura porque esta casi nunca asegura buenas ventas. Encima de eso, los países independientes tienen proyectos culturales de promoción nacional que impulsan a escritores como productos culturales de exportación para el consumo del resto del mundo. Toda literatura que no tenga en mente estos objetivos editoriales, o que provenga de una colonia, o que ni tan siquiera tenga país ni lenguaje como es la literatura latina de los Estados Unidos está condenada a quedarse afuera.

Pero ya no les tengo respeto. Dirijo mis críticas directamente a ellos. El silenciamiento por parte de estos maricones cobardes de la academia de Puerto Rico me provoca acusarlos. Quisiera sacarlos del clóset a todos: Pero, ¿sabes qué? No voy a compartir mi fama con ellos. Empobrecidos por la carencia de crítica, de pensamiento y de diálogo, estos académicos amanerados de Puerto Rico le han prestado sus mentes a bobadas posmodernas cuando el país se les estancó mentalmente y son intelectualmente incapaces de aportar al debate público ni al mejoramiento ni a la educación de su país. ¿Sabes por qué? Porque siempre fueron unos cobardes. Porque nunca salieron del clóset. Porque la formación académica de los estudios hispánicos les colonizó la mente y los acorraló en covachas de especialistas. Porque los “entrenaron” para ser “language teachers” en los Estados Unidos. La disciplina del hispanismo y la academia norteamericana los ha relegado a ser administradores de ignorantes, maestros de español cuya función obligatoria es entretener a la academia norteamericana en congresos, pero no es enseñar ideas, como tampoco lo es el crear nuevos conocimientos que le sirvan a su país o al mundo, como tampoco lo es el ser intelectuales en la esfera pública porque la especialización postmoderna los ha convertido en meros espectadores ante los problemas por los que atraviesa el mundo.

Basta darles un vistazo a las bobadas que escriben y a cómo hablan para darse cuenta de que esa mentalidad de mundillo queer postmo les impide entender la realidad en la que vive el resto del mundo y es otra manera de balcanizar el conocimiento.

Además, estos funcionarios académicos que han promovido la censura de una novela no merecen ser parte del campo de las artes liberales. Pertenecen a la inquisición española. Al otorgamiento de permisos católicos. Y no merecen ser llamados letrados.

ES: ¿Son gramatologos hibridistas subalternos, estrellas de los cultural studies y postsujetos postintelectuales del multiculturalismo enlatado… como las sopas de tomate de Warhol?

They are not even Pollocks, these academics are jokes on bad taste. Todo el mundo, y me incluyo, puede ser parodiado. Especialmente aquellos que, por virtud de haber constituido sus carreras, no sobre el saber, sino sobre el figurear en salones literarios; no sobre la enseñanza, sino sobre el manejo de jergas ininteligibles; no sobre el avance de la sabiduría, sino sobre el networking y la política tras bastidores de las universidades; le aportan nada al país que representan. Shame on them!

ES: ¿Un escritor es un escribiente? ¿Un productor de textualidades intertextualizadas? ¿Se parece un poema a un directorio telefónico por ser ambos sólo textos?

A la palabra LINTERNA se le quitan las enes y se convierte en LITERA. El oficio del escritor está representado en las cartas del Tarot por la carta número nueve del arcano mayor, la del Ermitaño. Éste se encuentra en la oscuridad, en un paisaje árido y desértico, y lo alumbra una linterna cuya fuente de luz es la estrella de David. En tiempos de catástrofes, de oscuridad, de aburrimiento y de incomprensión, deberíamos reflexionar sobre esta carta. Toda buena literatura debería iluminar intensamente con los siguientes rayos:

Primero, mostrar el camino y conducir la humanidad hacia sus más bellos ideales y sueños. Esto puede darse de manera directa (didáctica, ideológica) o indirecta (testimonial, cuando se narra un aspecto monstruoso de la humanidad), o a través del descubrimiento (cuando se nos revela una realidad que no conocíamos o a la que no teníamos acceso).

Segundo, debe operar en la esfera de lo sublime e, invocando la sabiduría africana, debe ayudarnos a digerir la realidad, por más dolorosa que ésta sea, pero pasándola por lo bello, que puede lograrse a través de la poética, como del manejo magistral del lenguaje, como de la musicalidad de las palabras, como de la innovación en el proveer nuevas metáforas a la humanidad (la creación de símbolos).

Tercero, entretener y combatir el aburrimiento, en otras palabras, provocar el placer.

Cuarto, desobedecer. Debe siempre buscar lo que no se puede decir, disentir, descentrar, des-territorializar. Cuando se cierra un camino, debe tener la capacidad de abrir otro. Es siempre un acto de resistencia, en especial a las clasificaciones. Debe resistir las fronteras y los enlatamientos. Especialmente los académicos, los editoriales y los literarios. Pero para poder desobedecer y disentir eficazmente hay que conocer bien la tradición literaria que nos forma como lectores.

Quinto, debe tener la capacidad de operar a diferentes niveles en la mente, porque esto invitará al lector a releer la obra una y otra vez, y asegura múltiples lectores.

Sexto, debe cegar. Debe ser tan intensa, que ciegue a todo aquel que se atreva mirarla directamente. Porque al final, el lector educado busca intensidades.

Ahora bien, el ermitaño es un viejo. Se retira del mundo para escribir pero regresa al mundo. Tiene que haber vivido y mucho. Lo conoce bien de cerca. Más que escribir, tiene que leer. Tiene que saber. El autor tiene que encarnarse en sus temas y en sus personajes. He aquí otro término de la teología que puede alumbrarnos.

La buena literatura debe ser siempre la estrella más radiante. Su brillantez será producida por la fusión de fuerzas culturales, psíquicas y espirituales opuestas, buenas y malas, bellas y feas, y el autor tiene que ubicarse en la soledad de su escritura para poder habitar los espacios del trance (a fin de cuentas, el ermitaño es un místico): trance como duelo espiritual e ideológico, como médium de sus propios personajes, como último estado o tiempo de la vida cerca de la muerte, como estados alterados de conciencia, drogamientos y hasta de la locura, y como expresión de los momentos críticos y decisivos por los que atraviesa su propia cultura. Trance como Trance-formation, in opposition to Logos and Logic.

ES: ¡Eres peligroso! ¡Con razón el Departamento de Spanish & Portuguese pretende deshacerse de tí sin dejar rastro! ¡Ni a la biblioteca le dejan entrar… los prudentes dueños de ese departamento! ¡Y con mucha razón! Y, sin embargo, ¿qué es eso de escritura creativa? ¿Cómo puede transformarse la disciplina cada día más burocrática de un departamento de literatura en el que nadie es capaz de distinguir entre tragedia y comedia, entre literatura y ficción, o entre mito y texto en sublime creación, en magnífica poiesis? ¿Pura brujería o farsa no más?

La única profesora de ese programa que se ha probado internacionalmente como escritora, como artista y como profesora de escritura creativa, y que posee las credenciales intelectuales y de mercado para dictar esos talleres, y la única que se merece el título de “prominent Latin American writer” (éste es el único objetivo que pude encontrar en el website del departamento) es la chilena Diamela Eltit. Las demás son todas escritoras de segunda categoría. Y debo añadir, irrelevantes, aburridísimas, y desconocidas que ni tan siquiera han sido publicadas por editoriales prestigiosas o de envergadura. En otras palabras, son amateurs. El trabajo de estas mujeres tampoco ha sido sometido a la crítica rigurosa ni al minucioso escrutinio de otros colegas, profesores, críticos literario u especialistas, ya que nadie las lee.

Cuando vienen estos “futuros escritores” a que yo los ayude, y me dicen que están en ese programa, los interrogo inocentemente: ¿por qué no sometes al mismo rigor de crítica las novelas y los poemarios de esas profesoras? ¿qué credenciales intelectuales, de escritura y de mercado tienen estas mujeres, a excepción de Diamela Eltit, que las autorice a ser profesoras de escritura creativa? O una pregunta más básica: ¿te has leído lo que han escrito? ¿qué han escrito que merezca el que se le catalogue como escritoras prominentes? ¿qué aportaciones significativas le han hecho a la literatura? ¿cuáles son los objetivos de este programa? ¿para qué mercado los están preparando? ¿qué tipo de estudiantes pretende formar?

Sospecho que un programa de escritura creativa podría darles la oportunidad a todas estas profesoras de segundo rango dentro de nuestro departamento para enseñar cursos significativos que no sean cursos de lengua de primer y segundo año para estudiantes norteamericanos. Y es que en nuestro departamento, como en muchos otros, existe toda una facultad que, como no tienen “tenure” y como están trabajando bajo contratos miserables y salarios injustos que no dan para vivir, y como no pueden enseñar cursos graduados o de literatura como los otros, les pudren sus carreras intelectuales asignándolos a enseñar los verbos ser y estar. Entonces, estas clases de escritura creativa se convierten en premios de consolación para ellos.

¿A quién pretenden estas mujeres engañar? ¿A quién se le puede ocurrir estudiar con estas guardias municipales?

Después de haber propuesto y enseñado cursos de escritura creativa en la Universidad de Puerto Rico, y después de tener muchísimos estudiantes escritores que me buscan privadamente para que les enseñe, he desarrollado una relación “sweet and sour” hacia este tipo de programas. Para mí, un programa de escritura creativa debe tener, como mínimo, el desarrollo de los siguientes objetivos:

El primero tiene que ver con el desarrollo del dominio de las técnicas de la escritura, un manejo de las herramientas básicas que todo escritor debe dominar para poder ejercer bien su oficio. Y me refiero a una clase de ingeniería de la escritura básica, de la redacción y del desarrollo del estilo, donde se manejen conceptos esenciales como desarrollo de trama, personajes, diálogos, marco, formación de clímax, etc.

El segundo tiene que ver con el desarrollo de la sensibilidad estética de cada alumno. Y esto lo aprendí de quien es y fue mi maestra, la mismísima Diamela Eltit, y se logra con un intercambio de lecturas clásicas, relacionadas con los temas y géneros específicos que cada autor esté manejando individualmente; lecturas tanto literarias como teóricas, y que busquen enriquecer el intelecto del autor para que éste pueda entablar una conversación profunda y compleja con su propia tradición literaria. Este diálogo se logra al entablar conversaciones con personas que hayan leído más que uno y con maestros a los que uno admire, no por los puestos que tengan, sino por lo que escriben, y que buscan ayudar al alumno a navegar en esa piscina infinita de “libros que hay que leer.”

El tercero tiene que ver con pulir lo que el estudiante ya ha escrito. Consiste en compartir su trabajo con otros escritores y desarrollar una actitud de apertura a la crítica de otros colegas, para así afinar sus capacidades críticas, ya que todo manuscrito puede mejorarse antes de que salga a las prensas.

El cuarto es sumamente práctico, pero no por eso menos importante, y tiene que ver con una exposición al manejo de la profesión de la escritura, con encuentros con editores, con agentes literarios, con promoción de textos, etc. ¿Cómo se construye una profesión de escritor? Ese tipo de cosas.

Ninguno de estos objetivos los posee el programa de escritura creativa de NYU. Y todos se pueden lograr, de una manera u otra, independientemente sin la necesidad de una maestría de escritura creativa.

Además, me preocupa enormemente el problema de la vigilancia de la escritura por parte de críticos literarios y de “language teachers”.

ES: ¿No cree Usted que la síntesis de la critica literaria postestructuralista y las condiciones escriturales de la industria de la ficción globalista puede dar por resultado una máquina gramatológica total? ¿La Ciudad Letrada Absoluta?

Todos los que hemos estado ya en el mercado de la enseñanza universitaria sabemos que una Maestría en Escritura Creativa no sirve para absolutamente nada, no te sirve ni tan siquiera para conseguir trabajo, ni garantiza que el escritor escriba bien, ¿para qué sirve entonces? Sirve para dividir, de una vez y por todas, la literatura de la crítica literaria. Sirve para asegurar que sólo aquellos que estudien crítica recibirán doctorados y por consiguiente, podrán tener puestos asalariados y con “tenure” en los departamentos de español de las universidades del mundo. Sirve, a juzgar por las profesoras que han escogido en NYU para enseñar estos talleres, para relegar a un estatus de segunda clase a los escritores jóvenes, proveyéndoles una educación y formación mediocre y manteniéndolos para siempre bajo una especie de tutelaje. Y sirve para ofrecerle a estudiantes ricos de Latinoamérica que pueden pagar esas clases unas vacaciones en la ciudad de New York disfrazadas como programa de escritura creativa. Estas maestrías son una especie de “boarding schools” para periodistas y escritores amateurs, pero no para escritores serios.

Hace unos años salió una caricatura muy reveladora en el New Yorker: una pareja conversaba en su sala, uno le decía al otro: Todas las novelas que he leído últimamente han sido escritas en creative writing programs. Este comic apunta a la profesionalización del proceso creativo con el cual se corre el enorme peligro de la producción en masa de novelas enlatadas, que no por eso son necesariamente malas, pero adolecen de ser predecibles, chatas, fotocopias una de la otra. Y eso es preocupante.

ES: ¡Pero Usted es un nihilista! ¿Propone algo?

Propongo una estética de la rabia, rescatándola como virtud divina para poder mantener cierto grado de sanidad mental, acompañándola siempre con desenlaces múltiples (Soy el impetuoso río Nigeria que desemboca en el delta mayor de África, y me forman quebradas, lagunas, basura, rápidos, pantanos, manglares, marismas y muchísimos animales):

QUEBRADAS. Toda escritura esquizofrénica es esquizoprofética: Like the homeless woman in the South Bronx in Angels in America, when Hannah asks her how can she get to Brooklyn, the woman responds: “In the new century, I think we will all be insane”: El planeta se calentará y Puerto Rico continuará siendo irrelevante para el orden global y eventualmente todas sus ciudades costeras quedaran sumergidas bajo el agua. La próxima pandemia matará al veinte por ciento de la población mundial. El horroroso legado de los latinoamericanos al mundo será la creación del desierto de las Amazonas. Quemarán y talarán todo lo que queda. Destruirán la selva y matarán a sus animales. Una bomba nuclear inesperada estallará una nueva guerra mundial. América del Sur y África se convertirán en vertederos continentales (take a tour of the Niger so you can witness with your own eyes how a Goddes, how a beautiful river has been converted into an infernal ecological dump by Shell and other Oil Corporations). El próximo ataque terrorista a los Estados Unidos será mucho más destructivo que el del 9-11. In other words: Simultaneously, memory will be enhanced and erased, and the future of our past will enhance humans into borgs. The twenty-first century will be defined by faith relations rather than race relations, by the threat of terrorism rather than the threat of Communism, by the real threats of global warming, the destruction of the tropical forests around the globe, one unstoppable pandemic, and by nuclear and biological war; and all these prophesies are not language games.

LAGUNAS. A pesar de todas las lagunas que me ha causado lo descrito anteriormente, NYU ha sido para mí un lugar sin límites. Asocio esta universidad con el placer (tuve muchos encuentros sexuales en el King Juan Carlos, en el parque, tuve sexo con hombres hasta en las oficinas de los profesores). Tuve sexo allí con todo el que pude (incluyendo alumnos y profesores). Además, que en NYU se consiguen las drogas más potentes de la ciudad de New York (me la compraban mis alumnos en los dormitorios o me las traía mi dealer al King Juan Carlos). I was so high while I was doing my graduate studies, que hay semestres enteros de los que no me acuerdo absolutamente nada, y lo mejor es que saqué A en esas clases. La asocio también con profundo amor: Ahí me diagnosticaron VIH y fue precisamente el director del departamento, Jim Fernández, el que me ayudó a sobrevivir aquella crisis. Él lloró conmigo. Me ayudó a salir adelante. Me acompañó en todas aquellas semanas donde llorábamos los dos como dos niños mientras él me diseñaba planes médicos para combatir mi enfermedad. Eso nunca se puede olvidar. Ese es un verdadero amigo (no siempre se enseña dando clase). Y aprendí a debatir. La mafia intelectual de NYU tiene una larga tradición intelectual de izquierda radical a la que debe siempre volver, especialmente, porque fue la única universidad en los Estados Unidos que fue bombardeada durante los ataques del 911.

MANGLARES. Soy un manglar con raíces espirituales por las que absorbo mis adicciones, que son muchísimas, y con las que me aguanto para que las olas del mar no me lleven. La raíz de todos mis fracasos ha sido el alcohol, la marihuana, el cristal meth, los poppers, el sexo promiscuo y desenfrenado siempre con drogas, y las obsesiones de todo tipo que producen un estado de insanidad mental que sólo un cóctel de higher powers puede combatir eficazmente. Mis ramificaciones son Dios, Cristo, el Espíritu Santo, la Virgen María, el Buda, San Ignacio y mi Maestro de Novicios, la Diosa Oyá y mi Padrino, Zarabanda, mi cuadro espiritual, mi madrina que está muerta pero que todavía me ayuda, los Narcóticos Anónimos y mi Sponsor, los tele-evangelistas, las cartas del Tarot, The Riverside Church y sus pastores, y todo el que me pueda ayudar a mantener mi sobriedad y mantenerme vivo el día de hoy. In other words, if evil forces have entered your life, here is a prayer for you: may this day, this hour, this moment//bring rest in You//that through You in me//I may live//sober and free//proclaiming how You save me//this day, this hour, this breath.

THE AFRICAN QUEEN. Una balsa de hule se hunde en medio del delta, donde yo soy Katharine Hupburn, gritando y señalando con la sombrilla: “CAPTAINS OF THE CREATIVE WRITING PROGRAMS AND SPANISH DEPARTMENTS OF THE UNITED STATES: PROPONGO UNA MALLA CURRICULAR PARA UN PROGRAMA DE ESCRITURA CREATIVA LO MÁS CREATIVA POSIBLE, DONDE LOS PROFESORES INVITADOS SEAN EXCONVICTOS, DROGADICTOS, PROSTITUTAS, TATUADOS, TRAFICANTES Y FUMADORES DE DROGAS, PEDERASTAS, TERRORISTAS, CON SÍFILIS Y MORIBUNDOS CON SIDA, UNA FACULTAD CAPACITADA DEL BAJO MUNDO QUE ATRAPE A LOS ESCRITORES JÓVENES MÁS PREPOTENTES Y TÍMIDOS DE LATINOAMÉRICA Y QUE, CON INCIENSOS DE MARIHUANA Y CON EJERCICIOS PRÁCTICOS DE ESCRITURA AFRO AMERICANA, NÁHUATL, SPANGLISH, QUECHUA Y PATUÁ, LES EXORCISE LA FORMACIÓN ADQUIRIDA EN LAS MAESTRÍAS DE ESCRITURA CREATIVA DONDE SE CULTIVAN EL CANTAR DE LOS CANTARES, LOS AUTO SACRAMENTALES Y LAS LECTURAS A FONDO DE LOS CLÁSICOS MÍSTICOS DE LA CENSURA CATÓLICA Y LA SUMISIÓN ESPAÑOLA (SAN JUAN DE LA CRUZ Y SANTA TERESA DE ÁVILA), BECAUSE THERE AIN’T NOTHING SO COMPLICATED AS THE INSIDE OF A TORPEDO.”

QUEER RAPIDS. This conversation critically examines the transformation of Spanish and Creative Writing Programs into Community Centers for the Prevention of (Sex/Intellect)ually Transmitted Diseases. It challenges the very concept of postmodern queer discourse, and the fate of academic subjectivity and the empty Hispanic baroque by proposing serenity as an alternative to the tragic discourses of the LGBTQ Pan Latin; through a close examination of the works of the Italian philosopher Giorgio Agamben. By comparing the proliferation of Spanish and Portuguese Programs with the rise of HIV in communities of color, or by contrasting the politics of Spanish Departments with the policies of such Pharmaceutical Giants as Bayer and GlaxoSmithKline, or by uncovering Latin American faculties as viral infections; a case can be made for the promotion of literary safe intercourse, the distribution of intellectual prophylaxis – free of charge --, the Patagonian Lesboerotic Homo Sacer as a new trope for the formation of a Trans-Atlantic-Ibero-American identity, and the abstinence from Latino writing as a powerful mean of stopping the spread of Magic Realism, Cultural Sarcoma and the Spanish Flu. Finally, unable to communicate, let alone to collaborate, the end of the literary pandemic is announced, by the intentional substitution of the works of Cervantes Saavedra with the writing achievements of the Yugoslavian Philosopher Songorocosongo, carefully safeguarding the very possibility of Latin American Studies Departments with maneuvers and approaches to Borges and Lorca via intellectual abracadabras such as Alain Badiou and Emanuel Levinas.

PANTANO. Because I am a writer living with HIV-AIDS and on Social Security and Medicaid, I have no patience with Latin American academics and writers who expect me to remain cool and calm as they play their ridiculous academic games. Therefore, I present to you a rather vulgar work in progress, a treatment for a movie that I am floating around literary agents and editors, entitled Who’s afraid of Frigidette VanDyke? y que será publicado post-mortum by either Alfagura or Mondadori, it is a conversation between two liquor ridden queer Puerto Rican academics inside an ugly apartment in New York City. Elizabeth Taylor is played by me. Convocadas por la presidenta del MLA, la profesora moribunda Frigidette Van Dyke, una secretaria pentecostal escribe una convocatoria por emails en lenguas humanas y angélicas a nombre de “graduate committees". A la Doctora Van Dyke la acompaña un coro de discípulas marimachas, postmos, sordas, ciegas y mudas, pero con doctorado. Una fila puertorriqueña de cadáveres maricones académicos amanerados, arrodillados, muertos y con los rostros encapuchados, después de haber pagado su membresía y haber sido maquillados por Doris Sommer, se encuentran frente a la directiva del MLA en el lobby de un Hotel en Las Vegas. Y en un giro alucinante e inesperado, un comité compuesto por directoras de departamentos de estudios Latinoamericanos de los Estados Unidos, y teledirigidas desde la Patagonia nada más y nada menos que por Nelly Richard, Beatriz Sarlo y Josefina Ludmer, se ponen unos guantes de hule negros y sin crisco, con las t(r)etas débiles por fuera y los sobacos sin afeitar, le empujan el puño por el culo a los académicos queer puertorriqueños, en medio de un panel titulado “Imperial Visions: Oxymoronic Sexual Sovereignty of the Pan Latin Diaspora”. Entonces algo inesperado sucede (es una escena barroca, clínica y kitsh): el dolor es tan grande y el placer tan intenso, y los brazos de aquellas latinoamericanistas tan gruesos, que todos resucitan, se orinan y se cagan encima, quedan encinta, bregan y aterrizan, algunas cómicamente, en Río Piedras, Brooklyn y en Chile, uno de ellos se vuelve levinasiano y hay que ponerle pampers, otro sale bailando hip hop, unas cuantas loquitas salen imitando a Žižek y (re)citando a Walter Benjamin. Then in the final fight, el coro académico de marimachas saca en camilla a la moribunda Van Dyke: hay que mantenerla VI-VA, you see, a toda costa, on life support, porque ella es la única que asegurará nuestros puestos, ella es la única que puede avalar nuestros textos, ella es la única que puede enseñarnos, y la sacan, sí, la sientan en una silla de ruedas, con suero y con oxígeno la arrastran para que le dirija las tesis, para que las invite a congresos, para que les escriba cartas de recomendación, para que les otorgue becas. Sin embargo, para serles franca, de todos estos personajes, es ella la única que no existe.

MARISMAS. Marismas sounds like maricas and like miasmas, and therefore, I am not going to imitate Liza Minnelli, no, no, no, I am too old and too wise for that, and she is still alive. That has been done before and I want to become a legend. Plus I have to treat her with the respect that she is entitled to because we are both Divas. Instead, I will finish this literary interview my way, in a state of trance, channeling Malcolm X: “Don’t let anybody who is oppressing you ever lay the ground rules. Don’t go by their games, don’t play the game by their rules. Let them know now that this is a new game, ad we’ve got some new rules…” Therefore, I propose a literature of Trance-formation with Frank Sinatra, on Broadway, because yes, I am a very good writer and I am not dissatisfied with anything I have written so far. I am a number one, king of my hill, top of the heap, king of the news, and all this fuss about Latin American Studies, all this fuss about Spanish Departments, all this fuss about Creative Writing Programs en Español is just that, little town blues, and yes, I have made it here, and I can and I will make it anywhere, so I am going to let him take it away:

Start spreading the news, I’m leaving today
I want to be a part of it - New York, New York
These vagabond shoes, are longing to stray
Right through the very heart of it - New York, New York

I wanna wake up in a city that doesn’t sleep
to find I’m king of the hill- top of the heap
These little town blues are melting away
I’ll make a brand new start of it - in old New York
If you can make it there, You’ll make it anywhere
It’s up to you - New York, New York

New York, New York
I want to wake up in a city that never sleeps
And find I’m a number one top of the list, king of the hill
Cream of the crop, king of the news

These little town blues, are melting away
I’m gonna make a brand new start of it – right there in old New York
And if I can make it there, I’m gonna make it anywhere

It´s up to you - New York, New York




Ángel Luis Lozada Novalés (Ángel Lozada) is a Puerto Rican novelist, activist, educator and scholar. Ángel Lozada has published two novels, La Patografía (Planeta, 1998) and No quiero quedarme sola y vacía (Isla Negra, 2006). Ángel Lozada's controversial writings focus on marginalized subjects, animalization, colonization, transculturation, the Puerto Rican Diaspora, and recently, on the relationships between writing, schizophrenia, power and culture as they are deployed via academic discourses and languages.