Posts Tagged: Jean Morris

Viniste a visitarme en sueños (You came to visit me in dreams) by Ernesto Cardenal

Poet: | Nationality: | Filmmaker:

Spanish director Eduardo Yagüe adapts a short poem by Nicaragua’s great poet-priest Ernesto Cardenal. Jean Morris provided an English translation for the subtitles.

One of the things I’ve noticed this week whilst looking at narrative-style films adapting lyric poetry is that there are (at least) two ways that the directors of such films can regard a poem: as a point of departure, or as the actual (if elusive) destination. But thinking about it further, I’m not sure these are mutually exclusive perspectives. After all — to extend the analogy — the true goal of a journey often turns out in retrospect to have been quite different from the supposed destination, which as it existed in the imagination of the traveler setting forth was indeed a mere jumping-off point. I think Eduardo’s films illustrate this paradox as well as any.

Be that as it may, no survey of narrative-style poetry filmmaking, however brief, would be complete without one of his films, which always feel so deep — as if they’ve emerged from an engagement with the text as intimate and sustained as that of any translator.

Vuelvo a la noche / Back in the Night by Mía Gallegos

Poet: | Nationality: | Filmmaker:

This is the final film in Spanish director Eduardo Yagüe‘s Trilogía de Soledad (Trilogy of Solitude), which began with an adaptation of a piece by a Spanish poet, Pedro Luis Menéndez: La vida menguante (Waning Life), and continued with A media voz (Under My Breath), which responded to a text by Peruvian poet Blanca Varela. “Vuelvo a la noche” is by the contemporary Costa Rican poet Mía Gallegos.

Solitude has certainly taken on a different, potentially life-saving connotation in this time of pandemic, and my Spanish friends have been in my mind a lot lately. Eduardo has said that this trilogy was “sobre la soledad y el vacío existencial, creativo y amoroso” (about solitude and existential, creative, and romantic emptiness). All three poems were translated into English by the London-based translator and poet Jean Morris.

Piedra negra sobre una piedra blanca / Black Stone on a White Stone by César Vallejo

Poet: | Nationality: | Filmmaker:

A new Moving Poems production, remixing Vallejo’s classic poem prognosticating his own death with time-lapse photography and Creative Commons-licensed music (from Magna Ingress). For the translation, I enlisted the help of some friends with better Spanish than mine: Jean Morris and Natalie d’Arbeloff, among others, on the Poetry from the Other Americas Facebook group. Another member of the group, the Spanish filmmaker and actor Eduardo Yagüe, was kind enough to supply the voiceover.

Shockingly, this is the first Vallejo poem on Moving Poems. I can’t think of any other Latin American poet of his stature whom I’ve so neglected. I did make one other video for a poem of his some years ago, but I guess I must’ve decided it wasn’t quite up to snuff.

I Am a Mirror (Soy Espejo) by Claribel Alegría

Poet: | Nationality: , | Filmmaker:

Like last week’s video for Nicanor Parra’s “El hombre imaginario,” this is a Moving Poems production in homage to a great, recently deceased Latin American poet. A post by poet-blogger Kristin Berkey-Abbot first alerted me to Claribel Alegría‘s death on January 25, drawing attention to the poem “Soy Espejo”:

In the 1990’s I taught that poem to classes that included very few Hispanic students. Then I moved to South Florida and taught that poem to people who had fled the Central American civil wars that Alegria wrote about. The poem worked well across a wide variety of boundaries.

I used a new translation by my friend Jean Morris. Rather than try to depict the horrors described in the poem directly, I wanted to focus on the speaker or speakers who’d witnessed them, so went looking for footage from asylums and the like. I found what I needed in the Prelinger Archives: a 1938 documentary about mental illness, for which patients were made to wear crude masks to protect their privacy. Shots of a woman repeatedly touching her face, other women standing or sitting frozen, and one, afflicted with echopraxia, mirroring the gestures of an interlocutor, provided points of connection with the text. I used some noise music by Stabbed Empath, the project of another friend, for the soundtrack.

To me, Alegría’s poem isn’t about war but trauma, and that’s where I tried to put the emphasis. I realize that the result may not make for pleasant viewing; it’s basically the complete opposite of the famous sequence from Good Morning, Vietnam where footage of the horrors of war is juxtaposed with Louis Armstrong’s “What a Wonderful World.” As great as that scene is, it doesn’t challenge the dominant conception of war as a tragic, horrific, but ultimately somehow inevitable, larger-than-life spectacle, nor does it really explore other perspectives than those of the soldiers. It’s part of a whole genre of “anti-war” filmmaking that focuses on the cost in terms of soldiers and veterans but rarely acknowledges, or actively downplays, the usually much greater cost in civilian casualties and wounds of all kinds. And as long as voters in the U.S. and other aggressor nations continue to ignore these impacts, the news media will be allowed to continue in their role as cheerleaders for the military-industrial complex, depicting war as a regrettable cost of doing business, from Afghanistan and Syria to Yemen and now, once again, Central America.

Antesala altísima / Lofty Anteroom by Estefanía González

Poet: | Nationality: | Filmmaker:

Spanish poet Estefanía González appears as one of three actors in this film interpretation of her poem from director Eduardo Yagüe. The English translation in the subtitles is the work of Jean Morris, and the music is from Swoon‘s album Time & River.

The poem appears in González’s 2013 collection Hierba de noche, which, according to this webpage, was born in large part from her activity on blogs, Twitter, and other social networks and internet collaborations. So it seems especially appropriate that her work should now be the subject of further web-based collaboration and transformation. As a blogging poet myself, I love her description of her outlook:

Sigo desperdigando poemas y semillas por las cunetas. Sigo vertiéndome como un jovenzuelo infinito. Sigo prefiriendo lo por venir a lo obrado. La perfección aún me recuerda a la muerte, cualquier elección me recuerda a la muerte. Quizá se trate de inmadurez. Seguramente.
(I keep scattering poems and seeds into the gutters. I keep pouring myself like an endless youth. I still prefer whatever is coming to what’s already been made. Perfection still reminds me of death, any choice reminds me of death. Maybe it’s immature. Surely.)

La canción del espejo / Song of the Mirror by Rafael Courtoisie

Poet: | Nationality: | Filmmaker:

A powerful new film from the Spanish director Eduardo Yagüe in response to a poem by the Uruguayan writer Rafael Courtoisie, which is included in the soundtrack. London-based translator and poet Jean Morris supplied the English translation used in the subtitles, a collaboration which I’m happy to say I had a small role in bringing about. The music is by Four Hands Project, and the actresses are Mercedes Castro and Montse Gabriel.