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But he essentially lived in poverty all his life. Later he worked on and off as a journalist and professor and maintained important friendships with painters, composers, and intellectuals. Quite to the letter, in fact, Saenz embodied, for much of his adult life, the late-Romantic idea of the poète maudit-apocalyptic and occult in his politics, habituous of slum taverns, unashamedly bisexual, insistently nocturnal in his artistic affairs, secretive in his leadership of a select group of writers-and he became, in the staid and tradition-bound circles of Bolivian high culture, the ongoing subject of rumor and gossip.įor a number of years in his youth, Saenz worked as a cultural liaison with the U.S. There was in his persona a near-total rejection of the social niceties and conventions of polite society. His final book of poetry, La noche (The night) is a harrowing and moving account of alcoholic experience. He succumbed again to drink in the year leading up to his death. Saenz succeeded in staying sober, with a few brief, notorious setbacks, for almost twenty years (the period of his greatest output). His life was defined by an intense experience of alcoholism, a struggle, eventually lost, that was wedded to what Leonardo García-Pabón, one of the leading scholars on Saenz's work, has called a "monastic" dedication to writing. Poet and novelist Jaime Saenz (1921–1986) lived his whole life in La Paz, Bolivia, seldom venturing beyond that thin-aired and scarcely believable city. The photographs of Saenz were taken by unidentified photographers.įinally, but not in the spirit of finality, the translators acknowledge the poet and critic Leonardo García-Pabón, without whose patient advice this The drawing of skulls on page 4 is by Jaime Saenz. We are grateful, too, to the editors who published sections of these translations first: Cecilia Vicuña in her anthology of Latin American poetry (forthcoming from Oxford University Press), Suzan Sherman at Bomb Magazine, John Tranter at Jacket (Rebecca Woolf at Fence, and Garrett Kalleberg and Leonard Schwartz at The Transcendental Friend (and Lind say Hill and Paul Taylorat Facture.
We are thankful to each of them, and to Elena del Rio Parra, who typed many of the poems in Spanish onto disk. Norbert Francis of Northern Arizona University and Cole Heinowitz of Brown University offered suggestions and translated critical materials by Leonardo García-Pabón, which we finally chose not to use in this particular volume but which served to inspire some of our introductory remarks. Katherine Hyde-Flanagan translated the afterword on short notice. Kent and Forrest would like to jointly thank Eliot Weinberger and Cecilia Vicuña for their support of this project and for their own inspiring work. Where translation and poetry have flourished and nourished him. Above all, thanks to Debi, Brooks, and Aaron for their patience, counsel, and love.įorrest Gander would like to thank some of those writers-and-translators whose works and friendships have both been important to him: Norma Cole, Peter Cole, Arthur Sze, Cole Swensen, Nathaniel Tarn, Donald Revell, Robert Hass, Keith and Rosmarie Waldrop, Monica de la Torre, and Carolyn Forché, as well as the writing community in Providence, Kent Johnson would like to thank Highland Community College for granting a sabbatical leave during the 19 academic year, awarded for the purposes of undertaking this translation project, and to acknowledge and thank his friends and colleaguesat Highland-Andy Dvorak, Kim Goudreau, and Carol Redmore-for their inspiring support and encouragement. Special gratitude, as well, to Ximena Morales, Gisela Morales, and Tina Orias for their generous assistance in facilitating communications and for their help with the securing and scanning of visual materials included in this book. Arturo Orias, and to Elva Gonzalez de Morales, executors of the Jaime Saenz estate. The translators are immensely grateful to the late Dr.