Giannina Braschi: storie dalle macerie delle Torri Gemelle

STORIE

Vedute da Ground Zero

http://www.storie.it/numero/vedute-da-ground-zero
ground-zero-today

Ho visto un tronco cadere dalla torre – niente gambe – niente testa – solo un tronco. Sono ridondante perché non posso credere a quello che ho visto. Ho visto un tronco cadere – niente gambe – niente testa – solo un tronco – precipitare nell’aria – vestito con una camicia bianca bianca – la camicia dei manager – infilata – per bene – sotto la cintura – allacciata stretta – che gli tiene su i calzoni, senza gambe. Aveva urtato una trave d’acciaio – ed era morto – un ducato che è morto, morto! – sul pavimento del negozio Krispy Cream – con ciambelle inzuccherate al posto della testa – appena sfornate, croccanti e rotonde – calde e gustose – e questo manager – a terra stringeva in mano una ventiquattrore – e all’anulare, la fede nuziale. Immagino che abbia pensato che la ventiquattrore fosse la sua sorte – o la sua consorte – o che fossero un tutt’uno – perché la valigia era stretta con forza come la fede di nozze.

Ho visto la moglie di questo manager entrare nel negozio di Stanley il Calzolaio, con un biglietto rosa in mano. Era andata a ritirare le scarpe del manager. Dopotutto avevano trovato i piedi, e lei voleva seppellire i piedi con le scarpe. Ero lì, a parlare con Stanley il Calzolaio, perché anch’io dovevo lasciare le mie scarpe, un paio di stivali rosa, al negozio di Stanley. Mi disse – non crederai a quello che ho visto. Ho visto Charlie, il proprietario del Bar e Grill Saint Charlie, assistere al funerale del ventesimo secolo. Va fuori ad appendere il cartello cessata attività, guarda in alto, e il carburante dell’aereo brucia e fonde Charlie. E lo sai come, come è arrivato a terra il tronco, come è atterrato? Quello che ho visto arrivare a terra era una piccola bolla di sangue, uno splash quasi impercettibile, silenzioso, che si scioglie nel cemento, e si disfa senza rumore.

Ho visto un passeggero sospeso sull’orlo di un ponte – con i piedi all’aria – le gambe scalcianti – e tutte e due le mani aggrappate a una trave d’acciaio che penzolava staccata dal ponte – prossimo a cedere – con il passeggero – che scalciava con le gambe – come se potesse farsi largo a destra e a manca fino dall’altra parte – dove c’è sabbia lieve e acqua – acqua profonda – come se potesse nuotare fino alla riva e rimanere vivo. L’epoca del cammello è tornata, e della sabbia. L’epoca della difficoltà. Ora devi scalare dune sabbiose di mattoni e calce. Le strade non sono piane, ma fitte di barricate, tunnel e solchi, e devi camminare in mezzo alla confusione, e a volte ti sentirai perso dentro, senza vedere la fine – né un’uscita – e cadrai nella disperazione – ma vedrai un velato fascio di luce – che appare e scompare – e quando svanirà – la tua speranza svanirà – e ti scoprirai sorpreso – perché sarà la tua andatura a cambiare. E penserai – ero sempre Lepre Elegantona e ora sono Tartaruga Compagnona – non che io abbia smarrito la strada – solo l’andatura – per via del corpo morto che mi porto sulla schiena – sulla gobba del cammello – nella tempesta del deserto – senza oasi in vista – se non la luce sorridente della terra promessa.

Ho visto un bellissimo dagherrotipo di un poeta, nella vetrina di un negozio. Non ho la certezza se fosse Baudelaire o Artaud – aveva gli occhi di Baudelaire – il naso e la bocca di Artaud – era un miscuglio – ero divertita e perplessa. Cosa ci fanno i miei maestri nella vetrina di A La Vieille Russie? Sono entrata e con mia sorpresa dietro il bancone c’era Vasily Vasilich Gurevich, proprietario dell’Optik di New York, fra la Madison e Park Avenue, sulla 58esima strada. Avevo acquistato da lui una collezione di occhiali antichi provenienti dalla Russia, dalla Francia e dalla Cina. L’ho riconosciuto subito, e gli ho detto:

“Gurevich, che ci fai qui? Gli affari ti devono andare bene. Congratulazioni! Ora hai due delle migliori boutique ”.

“Non proprio, Brasky. Il mio Optik ho dovuto chiuderlo”.

“Oh, no, il mio Optik”.

“L’economia, Brasky. Dopo l’11 settembre, in tre mesi non ho venduto un paio di occhiali. Se non è made in USA, non si muove. Non potevo più pagare l’affitto. Ho dovuto chiudere e trovarmi un lavoro qui. Guarda questo armadietto. Ci ho messo gli occhiali del mio Optik. Prova questi”.

“No, quello che adoravo era il posto. L’esperienza teatrale. Non è solo per gli occhiali, è dove li appendevi. All’orbita di un teschio, quello era speciale”.

“Brasky, se ti dicessi che era di Sarah Bernhardt, ci crederesti?”

“Quel paio di occhiali?”

“Il teschio. Guarda, c’è un’iscrizione dietro. Squelette, qu’astu fait de l’ame [1]. Fu un regalo di Victor Hugo a Sarah Bernhard. Faceva parte dell’arredo scenico per la sua leggendaria messa in scena dell’Amleto. Lo sai, Brasky, gli inglesi criticarono la Bernhardt perché era troppo bianco e pulito – e non era credibile che questo teschio bianco potesse essere stato sottoterra per più di ventitré anni. E lei guardava il teschio con adorazione mentre, in base alle indicazioni sceniche, avrebbe dovuto lasciarlo cadere disgustata”.

“Ma dimmi tu che idee! Logico che fosse affascinata. Vedere il suo futuro condensato nel passato. Perché il bello di contemplare un teschio è che, mentre lo guardi, quello è il momento in cui il passato e il futuro si uniscono nel presente – solo un teschio può farti vedere quello che eri e quello che sarai. Alessandro morì, Alessandro fu sepolto, Alessandro tornò polvere, la polvere è la terra, con la terra facciamo i nostri pagamenti a cottimo e le nostre smorfie per tenere il conto dei nostri lamenti – e questo è tutto – l’autoritario Cesare morto, morto e di nuovo polvere. Guarda, quando i miei amici hanno saputo del crollo – alcuni hanno sorriso e mi hanno augurato la morte. Erano felici. Uno di loro ha detto:

“Alla fine, l’Impero sta crollando. È l’inizio del rovesciamento. E che disfatta”.

“Se loro sono caduti, non per questo tu ti alzerai. Perché sei così felice?”

“Perché dalla caduta si alzeranno altre torri”.

“Bene. Bene”, gli ho detto. “Ma le torri che si alzeranno non saranno quelle che ridevano quando cadevano le nostre. Non è la risata ad alzarsi. Quello che si alza è il sipario”.

“È la fine del mondo. Ero esaltato da tutta la situazione. Ebbene, se stiamo tutti per morire, venderemo cara la pelle, merda, ma io che ne so? È una bomba atomica – la fine del mondo – la fine del millennio? Fine della paura di essere licenziati – per refusi o lentezze – digressioni o recessioni – e che modo di essere licenziati – scoppiare fra le fiamme – senza un preavviso di due settimane – e senza sei mesi di disoccupazione – e senza aspettativa, ferie o riposi compensativi – senza una parola su cosa sarebbe accaduto – in una gloriosa mattina – mentre la natura continuava il suo corso indifferente all’uomo – allora giunse il momento in cui quel cielo limpido diventò un nero, disgustoso buco dell’inferno – di una notte – con valigie, un pneumatico, carte, computer, scrivanie, e corpi che cadono – e persone che corrono e urlano”.

“Fanculo! Tieniti il tuo lavoro. Tieniti le tue strisce. Voglio la mia vita indipendentista. Sto entrando in affari. Sto per mettermi in proprio. Ma poi guardo il conto in banca e vedo uno zero rosicchiato. Non posso andarmene. Non ancora, almeno. Mi guardo allo specchio. Vedo che sto invecchiando, ma non faccio passi avanti. In teoria ero il capo di me stesso – sono un buon capo – e il mio capo – lo sa – ecco perché sta sempre a controllarmi, mi opprime, controlla i miei orari. In giro fino a tardi ieri sera? Perché ero ancora in ritardo stamattina e non sono pettinato e sono stressato e non so cosa fare. Cosa dovrei fare – prendere una pistola e spararmi – o prendere un tranquillante e dormire? Perché dimostrargli che hanno ragione? Capisci, che persona complicata, che agitatore? Sempre in guardia. Perché devi stare così sulla difensiva – mi dicono sempre – nessuno ti sta assalendo. Perciò cosa gli dico – sono stato sfruttato e maltrattato – sottovalutato – sottopagato – dato per scontato, non ascoltato, non preso sul serio, rifiutato e deprivato. Stiamo meglio adesso di vent’anni fa? È quello che chiedono sempre i politici quando si mettono le mani in tasca – e tirano fuori qualche moneta nel pugno e la fanno suonare come un campanello. E ti fanno l’occhiolino, come se tu fossi complice di un crimine: ‘Perché stiamo insieme in quest’affare’. O sopravviviamo, o inondiamo il palcoscenico di lacrime, soltanto per un guscio d’uovo. Lo sanno, e noi lo sappiamo meglio – non che le cose non siano migliori. Chi sono io per giudicare? E non mi interessa se siamo migliori o peggiori. Sono più cinico di così. So cosa devo aspettarmi, e anche io faccio l’occhiolino – come un complice in un crimine. Ma non mi si dicano bugie. Non strizzate l’occhio e non dite che le cose sono migliori, mentre non lo sono. O che erano meglio mentre non lo erano. Vedo quello che vedo con i miei occhi – non con i vostri – e questo non vuol dire che non approvo i vostri occhiolini. Strizzo l’occhio quando lo strizzate a me – e se piangete – piangerò con voi – ma non mentirò a me stesso. Quello che vedo è quello che vedo – ma permettetemi di non essere d’accordo. Mi piacciono le vostre bugie – e il modo in cui le dite ancora di più – perché amo l’industria dello spettacolo”.

[1] Scheletro, cosa ne hai fatto dell’amore [NdT].

“Vedute da Ground Zero” è tratto da Storie 55/2005 traduzione di Laura Petruccioli

storie55

“Vedute da Ground Zero” è tratto da Storie 55/2005
traduzione di Laura Petruccioli

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American Voces @ John Hopkins

Caras2BRASCHI2

JH

Giannina Braschi
September 26, 2013, 5:15pm
American Voces Authors Series
Department of German and Romance Languages and Literatures
The Johns Hopkins University
3400 N. Charles St.
Baltimore, MD 21218

For more details contact: americanvoces.jhu@gmail.com

http://repeatingislands.com/2013/08/18/hispanic-writers-series-american-voces-presents-giannina-braschi-junot-diaz-and-cristina-garcia/

http://hub.jhu.edu/2013/04/05/junot-diaz-american-voces

“Banks are the temples of America. This is a holy war. Our economy is our religion.” Giannina Braschi.

http://www.amazon.com/Book-Business-Quotations-The-Economist/dp/111818534X

John Wiley & Sons, Inc. = The Economist Book of Business Quotations, edited by Bill Ridgers, compiles the wit and wisdom of great thinkers such as Cicero, Confucius, and Aristotle to cartoon characters such as Homer Simpson and Dilbert. This collection features brilliant, zany, serious and pithy quotes on money, management, business, gambling, banking, economics, debt, capitalism, jobs, and wealth from a colorful cast of characters in politics, business, music, arts, sports, literature, philosophy and entertainment, including Benjamin Franklin, Vaclav Havel, Winston Churchill, Warren Buffet,  Lloyd Blankfein, John Cleese, Samuel Beckett, Henry Miller, Giannina Braschi, Albert Einstein, Arthur Miller, Brian Eno, Vince Lombardi, Jay Leno, Bob Dylan, PT Barnum, Oscar Wilde, and Vincent Van Gogh. Editor Bill Ridgers is a business writer and business education editor at The Economist.

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The quote “BANKS ARE THE TEMPLES OF AMERICA. THIS IS A HOLY WAR. OUR ECONOMY IS OUR RELIGION” comes from the following scene in United States of Banana by Giannina Braschi

“I saw the hand of man holding the hand of woman. They were running to escape the inferno—and just when the man thought he had saved the woman—a chunk of ceiling fell—and what he had in his hand—was just her hand—dismembered from her body. Now we no longer have the Renaissance concept of the Creation of Man—those two hands reaching out to each other on the Sistine Chapel—the hand of God and the hand of man—their fingers almost touching—in unity of body and soul. What we have here is a war—the war of matter and spirit. In the classical era, spirit was in harmony with matter. Matter used to condense spirit. What was unseen—the ghost of Hamlet’s father—was seen—in the conscience of the king. The spirit was trapped in the matter of theater. The theater made the unseen, seen. In the Romantic era, spirit overwhelms matter. The glass of champagne can’t contain the bubbles. But never in the history of humanity has spirit been at war with matter. And that is what we have today. The war of banks and religion. It’s what I wrote in Prayers of the Dawn, that in New York City, banks tower over cathedrals. Banks are the temples of America. This is a holy war. Our economy is our religion. When I came back to midtown a week after the attack—I mourned—but not in a personal way—it was a cosmic mourning—something that I could not specify because I didn’t know any of the dead. I felt grief without knowing its origin. Maybe it was the grief of being an immigrant and of not having roots. Not being able to participate in the whole affair as a family member but as a foreigner, as a stranger—estranged in myself and confused—I saw the windows of Bergdorf and Saks—what a theater of the unexpected—my mother would have cried—there were only black curtains, black drapes—showing the mourning of the stores—no mannequins, just veils—black veils. When the mannequins appeared again weeks later—none of them had blond hair. I don’t know if it was because of the mourning rituals or whether the mannequins were afraid to be blond—targets of terrorists. Even they didn’t want to look American. They were out of fashion after the TwinTowers fell. To the point, that even though I had just dyed my hair blond because I was writing Hamlet and Hamlet is blond, I went back to my coiffeur immediately and told him—dye my hair black. It was a matter of life and death, why look like an American. When naturally I look like an Arab and walk like an Egyptian.”

http://search.yahoo.com/search?ei=utf-8&fr=slv8-offrhap&p=bangles%20walk%20like%20an%20egyptian&type=

http://www.chomsky.info/http://www.chomsky.info/articles/20120606.htmhttp://www.amazon.com/United-States-Banana-Giannina-Braschi/dp/1611090679/ref=sr_1_1?s=books&ie=UTF8&qid=1361848031&sr=1-1

http://dilbertblog.typepad.com/

http://project2996.wordpress.com/

http://septembereleventh.wordpress.com/

http://truthandshadows.wordpress.com/

quotesforbusiness.blogspot.com/

http://contentmarketinginstitute.com/2008/06/113-expert-and/

http://www.allthingscounterterrorism.com/

http://leaksource.wordpress.com/2013/01/24/cia-worlds-biggest-terrorist-organization/

http://extremeprejudiceusa.wordpress.com/

Caras Special Edition: Most Influential Puerto Ricans of 2012

  1. Reblogged from Latin Culture Today:  Here are the highlights of “CARAS 2012:  Los grandes protagonistas de Puerto Rico“.   Patricia de la Torre, Editorial Director.  Jaime RIvera, Photography Director .  

    Topping the List of the Most Influential and Exciting Puerto Ricans Today are…

    Turning heads with their own eclectic spin on reggaetonCALLE 13 is the hottest band to emerge from Puerto Rico in decades, with 19 Latin Grammy Awards and 2 Grammy Awards. As hot as their sound is their political fire; these musicians are avid supporters of the Puerto Rican independence movement, both a source of controversy and a musical inspiration.

     GIANNINA BRASCHI, one of the most imaginative and funny writers to emerge from Latin America in the past 25 years, is the radical author of the new book UNITED STATES OF BANANA and the best-selling Spanglish novel YO-YO BOING!  The Associated Press calls Braschi’s writing “fearless” and her imagination “limitless”.  Whether her award-winning books are written in Spanish, Spanglish or English, Braschi is a festival favorite at headlining events such as the National Book Festival, The Modern Language Association Convention, and the PEN World Voices Festival.

    JENNIFER LOPEZ, the global performing arts sensation, is one of the most multi-talented artists and entrepeneurs today.  J Lo is an actress, dancer, film producer, philanthropist, and singer. In 2012, she was ranked at number one on business magazine Forbes‘s Celebrity 100 list, which named her the most powerful celebrity, with earnings of $52 million that year.

    ALEJANDRO GARCIA PADILLA is the new GOVERNOR OF PUERTO RICO as of January 2013.  Prior, he was a member of the 24th Senate of Puerto Rico and President of the Popular Democratic Party of Puerto Rico.

    CARLOS BELTRAN plays outfielder for the St. Louis Cardinals. Beltrán is known for being one of the best all-time statistical hitters in Major League Baseball postseason games, which has earned him nicknames such as “Señor Octubre” and “the real Mr.October” .

     

     JOSEPH ACABA, PUERTO RICAN ASTRONAUT

      
    MARC ANTHONY is a two-time Grammy and three-time Latin Grammy–award winning singer and actor who has sold more than 12 million salsa and ballad albums worldwide.

TONY RAMOS, OLYMPIC GYMNAST FROM PUERTO RICO, placed in the finals at the London Olympics in 2012. May he bring home the gold from the 2016 Olympics in Rio de Janiero. 

RICKY MARTIN currently stars as Che in the Broadway revival of the Andrew Lloyd Webber musical Evita.  In addition to being a POP SINGER AND BROADWAY ACTOR, he is a philanthropist whose foundation is dedicated to eliminating human trafficking.

MONICA PUIG, TENNIS PLAYER, won the ITF tournament in Joué-lès-Tours in 2012, which included a first round win against Alexandra Panova.  Her star is on the rise.

BENICIO DEL TORO, ACTOR and FILM PRODUCER, has won an Academy Award, a Golden Globe Award, a Screen Actors Guild Award, and a BAFTA Award.

RICHARD CARRION is not only the CEO and Chairman of BANCO POPULAR, but he also runs the Finance Committee for the International Olympics.  He is one of Puerto Rico’s most successful businessmen in addition to being a philanthropist dedicated to providing underprivileged children with education and sports opportunities.

*For more complete bios see CARAS 2012 SPECIAL EDITION: Los grandes protagonistas de Puerto Rico.
Links:

http://www.jenniferlopez.com

http://idolator.com/7369242/jennifer-lopez-grammy-dress-morning-mix

http://www.puertoricanstudies.org
http://www.prtt.org/ 
http://translucence.wordpress.com/07/19/2012

http://artid.com/members/hispanic_arts/blog/post/5265-the-association-for-puerto-rican-hispanic-http://culture-inc-annual-concert-at-museum-of-the-city-of-new-york
http://www.hispanic-culture-online.com/Hispanic-culture-blog.html
http://www.thehispanicblog.com
http://boriquablog.wordpress.com
http://profacero.wordpress.com/2012/07/27/giannina-braschi/http://repeatingislands.com/2011/12/12/new-book-giannina-braschis-united-states-of-banana/

http:/www.latinopoetryreview.blogspot.com/

http://www.frasespedia.com/frases-de-libertad-de-giannina-braschi/
http://nbclatino.com/2013/01/06/13-most-anticipated-hispanic-films-of-2013/

http://spanishcultures.blogspot.com
http://nyswiblog.blogspot.com/2012/10/giannina-braschi-this-friday-at.htmlhttp://www.bokmassan.se/nyheter/giannina-braschi-till-forum-for-poesi/

http://www.lrslatino.blogspot.com/
www.latinowriterstoday.blogspot.com/

http://www.adrianadominguez.blogspot.com/

Modern Language Association Presents: United States of Banana

gbcaras

Saturday, January 5, 2013 in Boston

Modern Language Association Convention             

SPECIAL EVENT!  A Dramatic Reading by Giannina Braschi, UNITED STATES OF BANANA @ 7:00–8:15 p.m., 206, Hynes Center, Boston

Hailed “The Wasteland of the 21st Century” by The Evergreen Review, Giannina Braschi’s revolutionary new work United States of Banana  is the subject of a dramatic performance and a scholarly panel at the Modern Language Association’s annual convention.   Braschi is the author of the postmodern poetry classic Empire of Dreams and the bestselling Spanglish novel Yo-Yo Boing! These titles form a mixed-genre trilogy on the subject of the American immigrant.  A 7pm performance by the author in the John B. Hynes Veterans Memorial Center, follows a scholarly panel earlier in the day by Arnaldo Cruz-Malavé, Maritza Stanchich, and Cristina Garrigós entitled Giannina Braschi’s United States of Banana: Revolutionary in Subject and Form” (12:00 noon–1:15 p.m., Back Bay C, Sheraton Hotel).  Tess O’Dwyer, who translated Empire of Dreams and Yo-Yo Boing! from Spanish into English, serves as moderator.

Giannina Braschi’s United States of Banana: Revolutionary in Subject and Form”, A Scholarly Panel @ 12:00 noon–1:15 p.m., Back Bay C, Sheraton Hotel

 ABSTRACTS: 

 “Under the Skirt of Liberty:  Giannina Braschi Rewrites Empire” by Arnaldo Cruz-Malavé (Fordham University)

Description:

For the last two decades discourses on empire have been the province of postcolonial diasporic critics.  Writing from the vantage point of exile or diaspora, postcolonial critics, such as Said, Spivak, Bhabha, and Glissant, have meditated on questions of power and resistance in the relationship between former colonies and their metropolitan imperial centers in the current postcolonial world.  More recently Hardt and Negri have extended this meditation to the contemporary global economic system.  In her latest book, United States of Banana, New York Puerto Rican writer Giannina Braschi joins this meditation on agency and resistance but not from the vantage point of postcolonial exile but from that of colonial diasporas, such as the New York Puerto Rican community.  Using 911 and the current economic crisis as a catalyst for her critique, Braschi extends her previous dialogue with high modernism in her Empire of Dreams, to discourses on postcoloniality and globalization.  In my paper I will draw out the lines of this critique of postcoloniality and globalization from the vantage point of colonial diasporic subjectivity in the center of high modernism and postmodernism:  New York.

Biographical Note:

Arnaldo Cruz-Malavé is Professor of Spanish and Comparative Literature and Chair of the Department of Modern Languages and Literatures at Fordham University in New York.  His most recent book is Queer Latino Testimonio, Keith Haring, and Juanito Xtravaganza: Hard Tails (Palgrave 2007), a book about the relationship between high art and Latino popular culture in the gentrifying New York of the 1980s.  He is also author of a study on the intersections of nationalism and sexuality in the prose fiction of the Cuban author, José Lezama Lima, El primitivo implorante, and coeditor, with Martin Manalansan, of Queer Globalization: Citizenship and the Afterlife of Colonialism (New York UP 2002).  He has published widely on Hispanic Caribbean and U.S. Latino literatures and cultures.  His essays have appeared in anthologies such as Entiendes? Queer Readings/Hispanic Writings (Duke 1995), Sex and Sexuality in Latin America (NYU 1997), and Queer Representations (NYU 1997), and in journals such as Revista Iberoamericana, differences, Revista de Crítica Cultural, Cuban Studies, and Centro: The Journal of the Center for Puerto Rican Studies

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“Whose English is it Anyway? Giannina Braschi Levels the Bilingual Playing Field” by Maritza Stanchich (University of Puerto Rico, Río Piedras)

Description

Giannina Braschi’s highly anticipated new novel The United States of Banana (2011), in line of flight from her groundbreaking quasi-novel Yo-Yo Boing! (1998), marks a paradigmatic shift in the millennial poetics of witness of Whitman and Martí’s New York with a high/low transcanonical, inter and transAmerican postmodern performance that levels the playing field to bring parity to the charged terrain of English/Spanish bilingualism. In Banana, Braschi proposes simultaneously post modern and protest poetics in dizzying global/local contexts, as U.S. global hegemony declines post 9/11, as the United States has fast become the second largest Spanish speaking country in the world, and as its colony Puerto Rico faces a historic crisis only deepened under local annexationist leadership. In both works, Braschi’s vanguard bilingual performance breaks with previous theorizations of the functions of interlingualism in diasporic Puerto Rican and Chicano theory (Juan Bruce-Novoa 1990; Juan Flores and George Yúdice 1990; Frances Aparicio 1988, 1997), as well as with Puerto Rico’s insular cultural nationalist linguistic discourses. In doing so, Braschi challenges a transimperial history of global power relations between English and Spanish (Mignolo 2000) with literary language that exceeds canonical traditions. Braschi also brings to the fore a vein of avant-garde literature of the Puerto Rican diaspora, along with the distinct projects of Urayoán Noel, Lawrence La Fountain-Stokes, and the late Edgardo Vega Yunqué, as well as what I elsewhere call Post-Nuyorican literature, along with poets who uniquely venture into broadly comparative and international terrains, including Victor Hernández Cruz, whose most recent work explores Arabic and African linguistic influences in Spain, and Martín Espada, whose work straddles pan-Latino, trans-American literary traditions, engaging Latin American history as well as a global poetics of dissent.

Biographical Note

Maritza Stanchich, PhD, is an Academic Senator and Associate Professor of English for the College of Humanities at University of Puerto Rico, Río Piedras, where she teaches Caribbean, U.S., and U.S. Latina/o Literatures. Her scholarship on literature of the Puerto Rican diaspora and William Faulkner has appeared in Sargasso and Mississippi Quarterly, respectively. She has also published in Prospero’s Isles: The Presence of the Caribbean in the American Imaginary (2004), Writing Of(f) the Hyphen: New Critical Perspectives on the Literature of the Puerto Rican Diaspora (2008), and Hispanic Caribbean Literature of Migration: Narratives of Displacement (2010). She previously worked as an award-winning journalist in New York, Washington DC, and San Juan. Her recent columns for The Huffington Post and The New York Times have helped bring international attention to the crisis in Puerto Rico. She has also worked for academic unionization at University of California and with the Puerto Rican Association of University Professors (APPU).

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“Breaking the Borders: Giannina Braschi’s United States of Banana” by Cristina Garrigós, Universidad de León, Spain

Description

Giannina Braschi’s last novel, United States of Banana, combines characters from her previous works, such as Mariquita Samper, Giannina, and even the Statue of Liberty, that appear now interacting with Calderon’s Segismundo, Shakespeare’s Hamlet and Nietzsche’s Zarathustra. This makes it possible to read Braschi’s oeuvre as a whole and to observe in her writing a tendency towards continuity instead of rupture that is carried out in different levels. In a literary level, besides the intertextual inner and outer references, the book conveys a fragmentary discourse, through an aesthetic that defies the boundaries of the poetic, the dramatic, and the non-fiction essay. In this sense, it would fit into what Don De Lillo calls a “counter-narrative” (“In the Ruins of the Future”). Apocalyptic and deeply philosophical, Braschi’s text offers a reflection on the role of the human being, specifically, the latino writer in a global context where political, economical, social and linguistic boundaries are also questioned and erased, as epitomized by the relationship of Puerto Rico with the United States, and the destruction of the World Trade Center.  In this sense, my paper will analyze the fluidity of borders in her text in the different aspects mentioned above.

Biographical Note

Cristina Garrigós is Associate Professor at the University of Leon in Spain. She has a Ph.D. in English from the University of Seville (1999) with a dissertation on the intertextuality in the work of John Barth, and an M.A. in Comparative Literature from the University of North Carolina at Chapel Hill. She has taught at Universidad Autonoma de Madrid, Universidad de Leon, and Texas A&M International University. Her research interests include Postmodernism, Feminism, Literary and Film Theory, Bilingualism, and Borders. She wrote the book Un autor en busca de cuatro personajes: Ulises, Sherezade, Don Quijote y Huckleberry Finn en la obra de John Barth (University of Leon, Spain, 2000), and served as editor of La mujer quijote (Charlotte Lennox’s The Female Quixote, Spanish Edition, 2004) and El 11 de Septiembre y la tradición disidente en Estados Unidos (University of Valencia, 2011). She published the interview entitled “Chicken with the Head Off: Una conversación con Giannina Braschi” (Voices of America/Voces de America. Alonso Gallo, Laura, Ed.  Cádiz: Aduana Vieja, 2004), as well as the article “Bilingues, biculturales y Postmodernas: Rosario Ferré y Giannina Braschi”  (Insula. 667-668 Las Otras Orillas del Español: Las Literaturas Hispánicas de los Estados Unidos, 2002).

http://americanpoetrytoday.wordpress.com/2012/12/23/under-the-skirt-of-liberty-mla-presents-giannina-braschi-in-boston-january-5-2013/

Related TV news videos: Interviews with the author. 

http://www.youtube.com/watch?v=eJ58UuLwsJs

http://www.wapa.tv/noticias/especiales/orgullo-boricua–giannina-braschi_20111205213641.html

 

Drömmarnas imperium

 

Stockholms StadBibliotek

Drömmarnas imperium – möt Giannina Braschi Den puertoricanska poeten Giannina Braschi, boende i New York, och hennes bok Drömmarnas imperium, står i centrum för en kväll om världens och poesins tillstånd efter 11 september. Läsning och samtal med poeterna och översättarna Hanna Nordenhök och Helena Erikkson. 2012-10-08   (18:00 – 20:00)
https://biblioteket.stockholm.se/kalender/evenemangskategorier/H%C3%B6gl%C3%A4sning

Video from Gothenburg Book Fair:

http://bambuser.com/v/3017515

‘La libertad no es una opción, es un derecho’

 

24 de septiembre de 2012

‘La libertad no es una opción, es un derecho’

La autora puertorriqueña aboga por que la Isla tenga “libertad y voz independiente”

Giannina Braschi es la autora de la novela “United States of Banana”, publicada recientemente. (Suministrada)

Por José A. Delgado / jdelgado@elnuevodia.com

WASHINGTON – La escritora puertorriqueña Giannina Braschi promocionó en Washington este fin de semana su más reciente publicación, la novela “United States of Banana”, que representa, entre otras cosas, un llamamiento a favor de que Puerto Rico tenga “libertad y voz independiente”.

“La libertad no es una opción, es un derecho constitucional”, indicó Braschi, en una entrevista, antes de participar ayer en el Festival del Libro en el parque central estadounidense. Braschi fue una de las escritoras y los escritores invitados al reconocido festival, auspiciado por la Biblioteca del Congreso. “United States of Banana”, publicado en 2011, incluye una primera parte en que la autora puertorriqueña, radicada en Nueva York, narra por medio de la ficción algunas de las experiencias y consecuencias de los ataques terroristas del 11 de septiembre de 2001 contra el World Trade Center, en Nueva York.

El título de la obra surge de la segunda parte, en la que a través de personajes como la Estatua de la Libertad, Segismundo (prisionero durante un siglo por su padre, el rey de “United States of Banana”), Hamlet, Zarathrustra y Giannina, se pasa juicio sobre la situación colonial de Puerto Rico y las consecuencias de que Estados Unidos anexe plenamente a la Isla.

“Quiero la secesión de Puerto Rico de ‘United States of Banana’”, dice Giannina, el personaje de la novela, su primera publicación plenamente en inglés. No es la primera vez que Braschi, quien hasta hace poco fue profesora en Colgate University (Nueva York), explora el tema de las relaciones políticas entre Puerto Rico y Estados Unidos. Lo ha hecho, por ejemplo, en su novela bilingüe “Yo-Yo Boing”. Braschi indicó que ya explora ideas para una próxima publicación, pero prefiere no hablar de ellas en esta etapa: “Soy supersticiosa”.

Sólo adelanta que el debate sobre la situación colonial de Puerto Rico estará presente.

“Estoy a favor de Estados Unidos, pero quiero a Puerto Rico antes que cualquier país en el mundo. Quiero más a mi gente. Soy americana del Norte y del Sur”, sostuvo.

Braschi está consciente de que el Gobierno de Puerto Rico impulsa un referéndum local sobre el status político de la Isla y de que sectores de la diáspora reclamaron participación.

“Los que vivimos acá no podemos participar en el referéndum de allá, pero los que votan por el Gobernador en Puerto Rico no pueden votar aquí por el presidente de Estados Unidos. Siempre hay algo que nos niegan – dijo – porque somos colonia”.