I am not errant, I walk knowing I don’t want to arrive: A brief introduction to writer Felipe H. Lopez
I would like to offer the reader a story of a journey, namely my own journey through the words of poet Felipe H. Lopez. I trust that the reader will understand that every path is different, even if it happens to lead to the same destination, so perhaps what I say reflects only one truth. However, I want to encourage every reader to make their own determination, since, as we know, no one returns from any journey unchanged. We tend to think that only space undergoes transformations, but that idea is not entirely true. We change as well, possibly our memory deceives us, or simply, life betrays us. This is precisely what Lopez tells us in his narrative essay “Liaza chaa / I’m going home.”
Any person who travels for pleasure creates an imagery, in order to make his travels more bearable and promising. This is necessary because the traveler does not know what awaits at the destination. On the other hand, something different happens when we go back home, the place where we said our first words and learned what it is to be alive. In “Liaza chaa” we find a nostalgic voice narrating the account of a man who returns to his hometown to feel like a complete outsider. How uncanny is it to feel like a stranger in your own town? Yet, it is harder to accept that those of us who left for the US are no longer who we thought we were. “It doesn’t seem like I’m from here, but I think it is my pueblo. ‘It is my pueblo,’ I say. And I was born here, that’s where my umbilical cord is. When I lived on the other side, I wanted to go home. Now that I’m here, it is not where I grew up,” in the words of the author. And just like that, one’s spirit hangs from nothingness, a feeling much like orphanhood. The memories of a man who migrated to the US are recollections that transcend the past and the present of coming home. Those memories that construct a familiar space, the past space of yesterday, are no longer enough for a man who continuously idealized the past.
We all revile time because it’s the perfect enemy, a daring friend, stealthy double-edged dagger. As children we aspire to become adults, and when we turn old we wish we could turn back the clock. We seek answers, that is why we roam, pretending to trace our own footsteps; nonetheless, in the journey, writes Lopez: “I think – these streets, they don’t know me anymore. All the places where I left my footprints and my shadow have now been covered by cement. The places where I used to play have been buried.” So, coming home is not always easy because the intervening changes might not validate the reasons for leaving in the first place.
In Lopez’s poetry, we can view the context, the reasons why some of us migrate. In the poetic arena, we find the voice of an adolescent boy who leaves for the US in search of a better future, whole heartedly knowing that he was going after a dream, almost a myth. In “A Good Dream” the poetic voice presents the universal immigrant’s plan: “I will leave poverty behind, / I will get the good things. [...] / I will earn dollars. […] / I’m going to the Other Side.” The poet’s lucid verses invoke the aura of the mythical North, the place where you make money and suffer at the same time; some call it the American dream. This hyperbolized space, constructed by those who return to Mexico (regardless if they are US citizens or not), is poeticized in “The Money Cage,” and entering the cage alluded to in this poem also means to awake in the reality of living far away from home, of being able to return but feeling obliged to stay. The paradox of the immigrant is a poem, a curse; it is, in fact, the reality of many.
It must be said that a nervous tone reigns over Felipe Lopez’s poetry, creating a sense of desperation, as if the poetic subject was racing against time. Indeed, time perturbs the poetic voice, and even sleeping turns into anguish, because life back home slips away, because the memory of the mother vanishes. This is why time is like a serpent that rattles despair in these poems.
In essence, Felipe H. Lopez’s essay and poetry are a confession, an awakening, hope, friction; words chiseled by a Zapotec man who is no longer Mexican nor an American, but a poet.
University of California, Santa Barbara
Translated by the author
Osiris Gómez is a researcher, instructor of language and literature, and doctoral candidate at the University of California, Santa Barbara. His research focuses on contemporary Indigenous literatures of Mexico, Translation Studies, Cultural Studies, Sociolinguistics, and Applied Linguistics. His dissertation examines Nahuatl, Zapotec, Mazatec, and Mayan poetry, specifically the experience of the writer within the context of an endangered language. He is the founder and director of the Writers and Scholars in Indigenous Languages and Literatures Conference (ECELLO) at UCSB, a biannual academic gathering dedicated to the study of indigenous and minority cultures of the world. Osiris Gómez is currently working on an anthology that compiles conversations held with various indigenous authors from all across Mexico.
The seventh issue of Latin American Literature Today highlights indigenous voices with dossiers dedicated to three Wayuu writers from Colombia and Zapotec poetry and prose. We also pay homage to renowned Venezuelan poet Eugenio Montejo with a special dossier, as well as returning to the strange worlds of Latin American science fiction and opening a new space for Brazilian literature in Portuguese and English.
Table of Contents
- ESSAY: "Eugenio Montejo: An Introduction" by Arturo Gutiérrez Plaza
- ESSAY: "Eugenio Montejo: A Living Presence Ten Years After His Passing" by Arturo Gutiérrez Plaza
- ESSAY: "Eugenio Montejo and the Poetics of the Essay" by Miguel Gomes
- ESSAY: "The Joyous Excess of Eugenio Montejo’s Heteronymy" by Nicholas Roberts
- ESSAY: "So the Song Remains: Cosmic Orientation and Landscape in the Poetry of Eugenio Montejo" by Luis Enrique Belmonte
- POETRY: Five Poems by Eugenio Montejo
- ESSAY: "The White Workshop" by Eugenio Montejo
- POETRY: "Final sin fin" by Eugenio Montejo
- INTERVIEW: "A Choral Interview with Eugenio Montejo" by Arturo Gutiérrez Plaza, Julio Bolívar, Edmundo Bracho, Marina Gasparini, and José Pulido
- ESSAY: "Three Wayuu Writers Bring Winds of Renewal from the Desert" by Ana María Ferreira
- ESSAY: "Estercilia Simanca: A Writer who Makes the Desert Blossom" by Ana María Ferreira
- ESSAY: "Vito Apüshana: from Woumain to Wallmapu and from there to Rockies" by Juan Guillermo Sánchez
- ESSAY: "Pulowi of Uuchimüin" by Estercilia Simanca
- FICTION: "I Never Heard the Birds Again" by Vicenta Siosi
- POETRY: Five Poems by Vito Apüshana
- "Andean Science Fiction: An Introduction" by Marcelo Novoa
- "Andean Science Fiction: If Everything Unites Us… Does Nothingness Separate Us?" by Marcelo Novoa
- "Andean Dystopias: When the Future Clashes with Desire" by Iván Rodrigo Mendizábal
- "Andean Science Fiction: Pitfalls and Possibilities" by Daniel Salvo
- Ya nadie llora por mí by Sergio Ramírez
- Huracán by Sofía Segovia
- Casa transparente by María Luque
- La casa devastada by Carlos Cociña
- The Hours by Juan Carlos Villavicencio
- El asesinato de Laura Olivo by Jorge Eduardo Benavides
- Los terneros by Rodrigo Blanco Calderón
- Baroni: A Journey by Sergio Chejfec
- Desalojo de la naturaleza by Juan Arabia
- Teoría y práctica de La Habana by Rubén Gallo