The presentation begins at the César Vallejo monument, discussing his life and works. It covers his early years in Santiago de Chuco, his journey to Trujillo, and his return to Santiago de Chuco before traveling to Europe.
Two significant works are highlighted: "Trilce," written in Peru and Spain, and "Aparta de mí este cáliz," published posthumously. These works contribute to Vallejo's reputation as Peru's most universal poet.
Themes of Pain and Human Experience
Vallejo expresses profound themes related to human experience, particularly a deep-seated pain that is almost animalistic in nature. This aspect of his work is noted as irrefutable.
Political Turmoil and Imprisonment
In the early 1920s, after losing his teaching job at Colegio Guadalupe due to program changes, Vallejo returns home for the Apostle Santiago festivities but becomes embroiled in political conflict leading to violence.
Following accusations of being an intellectual instigator behind a violent incident, he flees but is later imprisoned in Trujillo on November 6, 1920.
Conditions of Imprisonment
During imprisonment lasting nearly four months, Vallejo was isolated from other prisoners. His friend Antenor Orrego describes the dire conditions he faced.
Orrego recounts seeing Vallejo’s despairing state upon visiting him; despite this suffering, he managed to write poetry during this time.
Literary Output During Imprisonment
While incarcerated, Vallejo transformed a collection of sonnets titled "Cráneos de bronce" into a poem book called "Triste para Navidad." He also won second place in a municipal poetry contest with “Tabla de Gesta.”
His unjust imprisonment garnered support from students and intellectual circles; protests appeared in Lima's press advocating for his release.
Release and Subsequent Work
After being released conditionally in February 1921 due to lack of evidence against him, he returned briefly to Orrego’s house before resuming work at Colegio Guadalupe.
In June 1922, three poems from "Trilce" were published; later that year he participated in a narrative contest which helped fund the publication of his second book.
The Impact of "Trilce"
There is debate over the title "Trilce," thought by some to derive from 'triste' (sad) and 'dulce' (sweet).
Vallejo’s innovative use of language reflects creativity akin to that admired from González Prada; he viewed language as a laboratory for expression.
Reception of His Work
Upon its release, "Trilce" received indifference or ridicule; critics like Luis Alberto Sánchez found it incomprehensible while others expressed surprise at its radical aesthetic departure.
Despite initial criticism, “Trilce” stands out as one of the most remarkable avant-garde works within Spanish literature—its depth remains largely unexplored even today.
A Visionary Poet
The book transcends previous literary forms with visionary qualities; it establishes new aesthetics linked closely with identity rooted in personal experiences.
The Impact of Vallejo's Work on Contemporary Poetry
Contextual Background of Vallejo's "Trilce"
Vallejo's work is rooted in specific circumstances, highlighting that he was largely unaware of major avant-garde movements while in Lima or Trujillo. Critics regard "Trilce" as one of the most original contemporary art pieces produced outside Europe.
In 1922, alongside the publication of "Trilce," significant works like T.S. Eliot's "The Waste Land" and Joyce's "Ulysses" emerged, marking a revolutionary year for literature.
The first edition of "Trilce" had a limited print run of only 200 copies and was prefaced by Antenor Orrego, a fellow member of the influential Grupo Norte.
The Initial Reception and Personal Struggles
The initial reception to "Trilce" was poor; it was published from a small typographic workshop near Lima’s former penitentiary, where Vallejo faced personal challenges.
Vallejo expressed his feelings about the book’s reception to Orrego, stating he felt an immense responsibility for its aesthetic and emphasized his need for artistic freedom.
Artistic Recognition and Literary Contributions
Critic Mariatti recognized Vallejo as an authentic artist whose expression of suffering validated his greatness.
In 1923, Vallejo published two books: “Escalas Melografiadas” (a collection of stories) and “Habla Salvaje” (a short novel), while also working as a correspondent for El Norte newspaper.
Migration Experience and Challenges
After losing his job at El Guadalupe due to judicial issues related to Santiago de Chuco events, Vallejo decided to pursue his dream of traveling abroad despite financial constraints.
He embarked on a journey to Paris in June 1923 aboard the ship La Oroya with Antenor Orrego’s nephew Julio Gálvez. Their travel experience included hardships but also aspirations for literary success.
Life in Paris: Struggles and Inspirations
Upon arriving in Paris on July 13th, Vallejo faced poverty without knowledge of French or stable employment but began writing novels during this period.
His early days were marked by severe economic hardship; he often slept in public spaces and suffered health issues that influenced his writing style profoundly.
Hospital experiences added depth to his work; he wrote about existential themes reflecting anguish through metaphysical explorations in poems like “Las Ventanas se han Estremecido.”
Legacy as a Migrant Artist
A story illustrates Vallejo’s integrity when he refused upfront payment for articles until they were written, showcasing his commitment to artistry over financial gain amidst migrant struggles.
Vallejo's Life and Influences in Paris
Early Experiences in Paris
Vallejo faced cultural challenges while living in Paris, where he engaged with notable figures like Vicente Huidobro and Juan Larrea, who became a close friend and scholar of his work.
In Europe, Vallejo supported himself by writing articles for Peruvian newspapers and magazines, including "El Norte," "Variedades," and "El Comercio."
He expressed his indomitable spirit through an article discussing the lack of cooperation among continents, highlighting his passion for boxing as a metaphor for struggle.
Personal Loss and Literary Growth
The death of Vallejo's father in 1924 deeply affected him; that same year he began writing the novel "Hacia el reino de los Shyris."
Despite initial hardships, Vallejo improved his situation in Paris after winning a scholarship but ultimately returned due to the oppressive political climate under dictator Primo de Rivera.
Relationships and Collaborations
In 1926, Vallejo met a modest seamstress named Riad Mike, who would accompany him until 1928. They lived together at the Ritz Hotel.
During this time, he learned about a court order for his arrest back in Trujillo, making him feel like an exile from Peru while contributing regularly to publications like "Amauta."
Reflections on Literature and Society
Vallejo wrote about Peruvian literature in 1924, praising José Carlos Mariátegui as an apostle advocating for social balance not just within Peru but globally.
Mariátegui recognized Vallejo’s unique expression of indigenous sentiment in literature without relying on folklore or deliberate authorship.
Cultural Observations: Fashion and Sports
While in France, Vallejo observed rising anti-American sentiments linked to U.S. economic dominance post-WWI. This tension was reflected even in fashion trends between Paris and New York.
He humorously noted how Athens proposed a compromise fashion style amidst the rivalry between short skirts favored by Paris and long skirts promoted by New York.
Sporting Events: A Cultural Divide
In 1926, Vallejo witnessed the first international women's tennis match held in Cannes between French player Suzanne Lenglen and an American competitor. The event drew significant public attention amid nationalistic divides.
César Vallejo: A Poet's Journey
Early Life and Influences
Vallejo's early interactions with his mother reveal a perception of the world around him, suggesting that he viewed some individuals as "deaf-mutes" who communicated only through gestures.
In a park near the Avenue de l'Opéra, Vallejo introduces himself as a poet, sharing translations of his poems and reflecting on his relationships with women, portraying them in a complex light.
Artistic Connections
Vallejo frequented high-profile cultural events and met influential figures like Picasso. He admired Picasso's work deeply, noting the artist's unique style and ability to create profound art from simplicity.
Describing Picasso’s drawing style, Vallejo highlights its childlike quality yet acknowledges its emotional depth and artistic significance.
Literary Context
During his time in Paris, Vallejo coexisted with literary giants such as Joyce and Proust but remained more connected to South American circles.
Despite not being close friends with these literary figures, he garnered attention; notably, Picasso created three portraits of him in 1938.
Political Engagement
Vallejo expressed admiration for contemporary artists like Sergei Eisenstein and Charles Chaplin. He described Chaplin’s film "The Gold Rush" as a powerful political statement against social injustice.
He articulated that the film serves as an indictment of economic hardship and societal greed during turbulent times in Europe.
Personal Struggles and Ideological Shifts
In 1927, disillusioned by journalistic work due to its frivolity, Vallejo left his position to pursue deeper ideological commitments.
His exploration of Marxism began during this period; he sought an independent aesthetic path while avoiding propaganda literature.
Health Challenges
After moving to Paris, Vallejo faced severe health issues affecting multiple organs. His reflections on suffering are profound—he contemplates pain beyond identity or belief systems.
Return to Peru and Revolutionary Interests
In 1928, after receiving funds for a return trip home, he chose instead to travel to Russia to witness the Bolshevik Revolution firsthand.
Final Works and Legacy
César Vallejo's Journey and Activism
Early Life and Political Awakening
César Vallejo visits various European cities, including Berlin, Rome, and Nice, while becoming a follower of the communist cause. He begins writing plays but faces economic hardships as his radical articles lead to job loss.
After being expelled from Paris for subversive activities, Vallejo travels to Spain where he collaborates with newspapers. His novel "El Tungsteno" becomes a bestseller shortly after its release.
Involvement in Spanish Civil War
In 1931, Vallejo writes "Paco Yunque," which is not published due to its somber tone. He returns to France but faces financial struggles again before returning to Spain during the rise of the Second Spanish Republic.
Vallejo participates in the Second Congress of Writers for the Defense of Culture alongside notable figures like Pablo Neruda and Octavio Paz.
Advocacy Through Literature
During a brief visit to Valencia amidst the Spanish Civil War in 1937, Vallejo emphasizes writers' responsibility for global events. He expresses a desire to join the fight against fascism by enlisting as a militiaman.
The Spanish Civil War sees international attention as Francisco Franco's forces receive support from Mussolini and Hitler. This deeply affects Vallejo spiritually.
Artistic Responses to Conflict
Luis Eduardo Valcárcel draws parallels between Vallejo's work "España aparta de mí este cáliz" and Picasso's "Guernica," highlighting their shared themes of destruction caused by war.
Excerpts from "España aparta de mí este cáliz" reflect on suffering and solidarity amidst conflict, showcasing Vallejo’s poignant poetic voice.
Legacy and Final Years
While in Europe, Vallejo continues his poetic output despite challenging circumstances. His works are published by Republican soldiers during the war.
As Franco’s troops advance, many refugees flee Spain; Vallejo remains committed to supporting Republican causes through his writings.
Death and Posthumous Recognition
Despite being Peruvian, Vallejo aligns himself with Spain’s struggle against fascism out of deep human solidarity rather than nationalistic ties.
Plans for his return to Peru were made in 1937; however, he dies on April 15th, 1938. His funeral was attended by prominent literary figures who honored his contributions posthumously.
Cementerio de Montparnasse y la figura de Vallejo
Reflexiones sobre Vallejo en el Cementerio
El narrador menciona su deseo de estar enterrado en el cementerio de Montparnasse, evocando una conversación con Vallejo sobre su preferencia por este lugar.
Se hace referencia a un encuentro en una farmacia donde Vallejo expresa su deseo de ser enterrado junto a Baudelaire, lo que resalta su admiración por otros poetas.
A pesar de la percepción común de Vallejo como un poeta melancólico y oscuro, se argumenta que su escritura es más compleja e intensa que simplemente difícil.
Se busca presentar a Vallejo más allá de los estereotipos, destacando su admiración universal y el estudio académico que recibe, aunque sigue siendo poco conocido por el público general.
