dark photo Prologue to
Winette poetic anthology of Rokha, published by Editorial Torremozas, Madrid, 2008
Rokha Winette OF, RATHER THAN
WIFE OF A FAMOUS AND MUSA (1)
By María Inés
Zaldivar
"Concave, with stalactites and stalagmites, / all white, like the finger of morning, / and a red carpet, bleeding, and repeated, / where my shoe is just one nugget of watermelon (2), is the first Quartet poem in ancient chant Scenario "and" Cold plane, exact dimensions, / the twentieth century fit into a tennis court " (20), the beginning of "Woodworm and presence of capitalism." A true poet, "without bagpipes gelatinous or green mud," said Vicente Huidobro about the creation of the author, and reading these verses it seems there is no doubt about this claim. (3)
After reading of his poetry, and already suffice the poems Cantoral (1925 - 1936) from which the above verses, "I had the certainty that Winette of Rokha was much more than the wife and muse of Pablo de Rokha. By the same token, I could not help but feel that their absence in the contemporary literary field is a regrettable omission with which, somehow, to do justice. That is the prime motivation of this work.
In the second volume of the Anthology of Chilean poetry criticism of Nain Nómez, it states: "Winette of Rokha has been doubly obscured by the Chilean literary criticism: for being the wife of Paul Rokha, and write a poetry that ranges from almost naive optimism of his early poems, the social protest of the second stage and almost cryptic surrealism of his last texts "(4). I agree with him on the first reason, but I agree only partially with the second, because I think epithets used by critics to identify her poetry such as "intimate transcendental "or" difficult originality "are ultimately only stereotypes that say little and sometimes hidden, as the shadow of her husband, but a more diligent and problematized its creation. And although an analytical reading, mainly concentrated in his poems, would clarify these terms coined to identify his work, this time I intend to inform the person and the character Winette and deploy some of the circumstances that account for her and her creation . That is why this approach I take a reading in which it creates separation between subject and object created, or more broadly, between life and work of artistic creation is always a fuzzy line, considering that it was even more so in the times of the author, avant-garde times where the breaking of this binary program was a consideration.
SOMETHING ABOUT YOUR LIFE
Anabalón Luisa Victoria Sanderson, Juana Inés de la Cruz, Marcel Duval Montenegro, Federico Lagarraña, Winette of Rokha, are different names for women born in Santiago de Chile on 7 July 1894 (5), who was the daughter of Army General Indalecio Anabalón and Urzua, and Dona Luisa Mardones Sanderson, lady who liked to highlight a noble origin to the title of Countess of shady valleys. Had a one brother, the jurist Carlos Anabalón Sanderson, public man of that time, who became president of the Supreme Court. From an early Winette showed great artistic skills, whether visual, musical and literary. That is why his parents took piano lessons as a little girl of three years and became a great performer, but his daughter Luko know that his musical career was interrupted when leaving the house of his parents and not never have a piano to practice. Very
gravitating in his life, and especially in his literary life was his maternal grandfather, Domingo Sanderson, Ireland, commissioned by the government Chile to work in the mines of the north who was also a polyglot and grammarian, translator of Ovid and Sappho, who "received the poet's love for Greek culture, the romance of Byron, and rejection of Catholicism Blessed. "(Nómez, 122). In this book oneiromancy (1936-1943) can read a long poem dedicated to the grandfather's granddaughter. I point out some verses in stanza seven:
Three or four times and in the memory of some
prints, misperceptions,
that, Dominic Anderson, the polyglot,
books, and books back with them from house to house,
books and books and books with them
pension board, boxed, rained,
rolling, stones accumulated as stone
pain and fatigue and books, scriptures and
writes calligraphy of pain and dreams. ....
And the poem concludes:
I open my arms shaking useless immeasurable:
myths, books, rivers, books, disappointments, books, books, books,
you and me between two hundred sunsets.
We also know that Winette studied at the Liceo N º 3 for Girls in Santiago de Chile, which was from a young friend of the letters, which emphasized throughout his student as the best student in the course of Castilian, and that was a great reader of Balzac, Walter Scott, Nerval. In addition, it was noted for its beauty and melancholy look, features that are seen in the photos of it are preserved, which are referred to by critics, and they were also sung by Paul Rokha as we see, by way of example, the first two stanzas of his famous poem entitled "Circle"
Yesterday I played the world like a cat in your lap;
today licks the boots of fine dove
have the heart town of cicadas,
and unveiled like fiddles dead,
great melancholy.
may fit all the sea in your eyes
and fits around the sun in your attitude aquarium
as a yellow dog follow you fall,
and upwind of river gods and astronomical
eternity you at the drop of horror.
Another testimony to the admiration of Rokha Paul had the beauty of his wife was stamped on the epitaph engraved on his tomb: "Here sleeps and grows forever the most beautiful flower gardens around the world: Winette of Rokha."
In 1915, Louise Sanderson Anabalón Talca gift sent to her book of poems What I said quietly to the young poet, who has the same age, Paul Rokha (actually named Carlos Díaz Loyola). This, in reading his poetry and see his picture he replied by return mail: "The beauty of your poems, / is the expression of your figure." And decided to travel to Santiago and come to your home and marry it. Thus, in 1916, contrary to the wishes of his father, Luisa married the poet, after which adopted the name of Rokha Winette. Thereafter they lived together 36 years, until her death in 1951.
By reading the work of both Paul Winette Rokha as we can see that family life is intertwined with his literary output. They had nine children, two of whom died very young, Carmencita died at seven months (referred to in the long poem "Choncaita" in Cantoral: "Her crying tree in darkness, / is cramped and bitter, / And her body is not heavy [...] more than a swallow-smelling Herbs wet earth / and Melissa, / aroman his breath ghost ", and Thomas their son who died after two years, and Winette" Song of Thomas, the absent "he concludes," I will pluck the many birds / for your Shadow ship. " Then there are the other seven, which over the years were all in some way linked with art and poetry. Thus we have now on the lips of Paul, the father, Carlos, who "He brought (s) written on his forehead, with tragic meaning, the red star and one of the doomed genius." (6) Luko: "on which explodes, as a century, the blue shell painting. " Juana Inés, "he found the chain of divine hyacinths, combs and guitars joining in a single light and melody." Joseph, "which spider guts to caricature God." Paul: "that will build great buildings libertarians to dwell future red men." Laura: "terrorize the edge of a bird's nest built in poetry and, finally, Flor," an expression of sun and sea in a cocoon, which resonate the icy steps of the ancestors. " (7)
is known, and as expected, Paul and Winette not have an easy life to maintain this large family, and led a life marked by frequent changes in city housing, and even in Chile, Santiago, San Felipe, Concepcion, Valparaiso, as well as permanent separation, more or less extensive, due to absence of father continually bringing family traveling to sell huge packages of books and paintings. Somehow, one could say that the stereotype of the determined parent provider and selfless mother who cares for the family, worked as a survival strategy for the small clan, but a look a little closer, split this classification at the time of giving of their coexistence. On the one hand, it is true that the financial situation Díaz-Anabalón marriage (which was high and low, but it seems rather low), depended on the outcome of the economic efforts of the homeowner, will agree to be salesman of the family artistic production, does not fit much with a typical 'pater familias chilensis' of the last century. It is good to remember that this function of male provider was tempered by the exuberance of binge anthology disputes with memorable friends and foes. Moreover, the image of melancholy angel Winette as home, a wife devoted only to his home and childcare, is also tinged, among other things, their life pública de fuerte compromiso social, como por la intensa relación con Pablo, relación de amante y compañera. (Hay testimonios de miembros de la familia y amistades, que dicen que frente a ella Pablo de Rokha era “sólo un humilde poeta enamorado”(8)). Se sabe, entonces, que sin importar las dificultades financieras, en la casa de los Díaz Anabalón siempre hubo servicio doméstico para que ayudara a Luisita, (como la llamaba Pablo) en los trabajos de la casa y a cuidar de los niños. A este respecto, Lukó de Rokha me señaló literalmente:
A mí papá le interesaba que ella escribiera lo de ella, que hiciera su trabajo, pero cosas domésticas, ever. In the home furniture and could miss many things, but had three employees, one was the cook, who was the chief, which lasted for years and was named Maria Trujillo and said the Trujillo, another named Clemira Hijada; had one that was the girl's hand ... When I was my father, my mother could not grab it and put it there. She could write no more, she drew particularly clean. She was the one who typed, mostly to help with the magazine Crowd. My dad was dictated and typed it. She was the one that corresponded with all the people in the world, as he spoke and wrote French and English perfectly. She was the one that corresponded and answer all letters. My dad never said a letter to anyone but it was with his wife and children. (9)
also know that:
When Paul traveled, relaxed homely atmosphere, as was Winette extremely indulgent mother, the children were allowed to eat their favorite foods, even at the wrong time, and also violated the rigid schedules set for getting in and out. Winette became complicit in the minors and it was not unusual in this behavior was surprised by her husband, who sometimes returned unexpectedly to find something. One of his granddaughters is remembered today as a girl caught at fault, walking nervously opened the door, chanting: "The man was something he, Cocorocas, Cocorocas, I come and go." (10)
In the field of social relations of Rokha WINNET with her husband and children, received in the family mansion to a variety of characters of the Chilean literary scene, including the poets were also counted and Stella Díaz Enrique Lihn Varín very young men in his years but also had friends with whom Winette sharing more personally. Among the most frequent names were those of the writer Inés Echeverría (Iris) and the poet Blanca Luz Brum, and also received a lot of young writers who went to the house to show their writing to seek advice and approval.
Her eldest granddaughter, Sonia Tagle, (daughter of Juana Inés), who practically lived at the family home with her grandparents during childhood, also says that remembers his grandmother as a great reader, especially the Russian symbolists Puskin Dostoevsky, Turgenev, Tolstoy, and all these readings influenced the literary tastes of several members of the family. Literally says that "the idea that I have the time, and the stories that circulated was that my grandmother was a woman friendly, talkative, always current, great reader, very international, he corresponded with this and the other in all parts of the world, and wrote a lengthy letter with a letter very dibujadita, who envied and tried to imitate. " (11)
Moreover, in the political arena, Winette of Rokha was a woman committed and advanced for its time. Together with Paul de Rokha made possible the Crowd magazine whose slogans were, among others like: "For the bread, peace and freedom in the world" or "Magazine of the people and high culture." (12) There collaborated writers Rosamel the likes of Del Valle, Ricardo Latcham, Juan Godoy, Enrique Gómez-Correa and Teófilo Cid. Worked Winette as an advisor and contributor to the magazine, and even distributed copies itself in many provinces of the country, and later managed international distribution. Moreover, within Cantoral, include "Lenin" (13), and is also known for controversial Winette the Polish writer Witold Gombrowicz 1946, they differed on the issues that can be treated in the literature, the relationship that should exist between the people and art and, more specifically, about meter and rhythm in poetry. His aesthetic theories, pure art attacking and defending the social commitment of art, were published in an Argentine newspaper in the city of Cordoba. In this open letter to Gombrowicz Winette we read statements such as:
The true poet is not interested to amaze or impress bourgeois snobs civilizations caused by collapse. [...] You can not imagine a man with long hair, lice, unshaven, writing eulogies to the beloved still or the moon, when the terrified crowds in Europe and Asia are on the road like dogs exiled, hungry, skeletal , sick of pain and helplessness. [...] The "Ulysses" Joyce I think one of the crowning achievements of a century. I'm not bored by too much technical. I think Joyce was an artist - psychologist necessary product, surface, that England hypocritical and fallacious always had to banish his genius: Byron, Wilde, Joyce. [...] The rose, love, night, lilies, there will always locate the poet knows in a new style and given the necessary distance and perspective they need all things to exist in the world true art.
Another major event in the life of Winette is the long journey that began in 1942 with Paul Rokha, in which Americans traveled nineteen countries, including Mexico and the United States. There is a wealth of photographic material and a press can be a marriage of Rokha, together and separately, giving lectures and recitals, or on horseback and dinner with other artists and writers. Tributes of various kinds were either in Ecuador, Peru, Venezuela, Colombia, Argentina and other countries. The owner I pick up a newspaper of Quito "A Chilean poet and a poet are in our city and give lectures," is repeated many times in different places.
is interesting to establish, albeit very briefly this time, the peculiarity of this trip with respect to travel writers and Chilean and Latin American writers at the beginning of last century, such as the Chilean Vicente Huidobro (1893-1948), Juan Emar (1893-1964), Marta Brunet (1897-1967), Bombal (1910-1980), and the Peruvian César Moro (1903-1956) or Alfredo Gangotena Ecuador (1904-1944), among others. For all the management was oriented towards Europe, and the port of arrival was forced Paris, the Mecca of art and for these young American bohemian. In the case of Rokha Winette is different, first of all, there is a young writer who goes to the city light to soak up the new art, but a respectable lady of nearly fifty years, who travels with her husband and that leaves seven children and even grandchildren of different ages at home. On the other hand, there is a fixed point, but this trip has a purposefully itinerant character, almost like a "poetic and political campaign" as the central objective of course both have to do with literature as with social commitment. Finally, we know that the return from this trip, seven years later, in 1949, Winette of Rokha and was seriously ill. Product eventually died of cancer on August 7, 1951.
But before the end of this brief account of her life, I can not link this journey through the world of the American continent, with the constant travel that the couple lived in Chile, from house to house, city to city mainly for economic reasons and labor. It is clear then that the travel of young and not so young Chileans between trunks and vapors that come and go in Paris, not have much to do with those provincial railway stations, with more baskets and bags dilapidated that kind wardrobe trunks to cross the ocean. Although not the time to attempt an answer, I think an interesting question about how this difference affects social and economic (though in this case seems to be mainly economic) context of the artist in the creation of the Chilean art.
After the above could be said rightly that Rokha Winette of both the personal and public, was a woman whose life and work, strongly intertwined, resists simplistic categorizations. Affiliation rather traditional, It comes from an observant Catholic family "Santiago society" in 1900-which as we saw even had aspirations of high nobility, he chooses over her life for the love of family, with its sorrows and joys, for art as lifestyle, and definitely join ideologies that seek social justice and are contrary to their social background. As the poet Francisco Vejar said: "Belonging to a family of avid readers, knew Winette also found another that led to great artists and poets with a major role, both in Chile and abroad" (12). I finish this tour Winette personal and family with a confidence that she made them his daughters shortly before his death and Luko remember until the day of memory. I reproduce verbatim:
Before he died he called us to the four daughters and told us: "I know you all are very well hidden, but I know I'm going to die. But do not weep for me, I cry, because I happen to have been a woman who has had the best children and the most wonderful man in the world, and have been the most beloved woman in the world. Would have liked to see my grandchildren grown, but that may not be. "(14)
SOMETHING ABOUT YOUR WORK
His literary output began with the publication of texts Zig-Zag magazine (where he wrote some verses dedicated to St. Francis of Assisi), and Numen, under the name L. Anabalón Sanderson. Later, in 1915, signed with the pseudonym Juana Inés de la Cruz, had his first two books: Sunshine hours, "a collection of prose that reflect a restless personality and romantic, as claimed by Manuel Magallanes Moure in the preface to the book "(Véjar) and the poetry collection What I said quietly. The year 1917 is incorporated in the anthology Lyric Selva (15). Then followed: Ways to Sleep (1927), Cantoral (1925-1936) published in 1936, which includes the earlier poems; oneiromancy (1936-1943), The Valley loses atmósfera (1949), poemario publicado primero como parte de Arenga sobre el arte junto con Pablo de Rokha, y Suma y destino (1951). Este volumen contiene su obra poética anterior e incluye el poemario póstumo, Los sellos arcanos, más un prólogo de Juan de Luigi, el borrador en facsímil de la carta a Gombrowicz. También presenta Prolegómenos a una gran expresión de América, que es un extenso dossier acerca de la obra de Winétt recopilada por Pablo de Rokha, y se cierra con una sección que bajo el título Cronografía muestra un no despreciable archivo fotográfico. En forma póstuma se publica Antología, también de poemas y Mundo de figuras, que contiene teatro, novela, ensayo, controversial stories and articles, two books published in 1953.
If we were to contextualize the poetry of Winette of Rokha in the creation of other women of her era such as Marie Cox Stuven, Shade, (1882-1914), Inés Echeverría Larraín, Iris, (1869 1949) or Teresa Wilms Montt (1893-1921), one can see that this does not fit with the so-called "advanced spirituality" (a term coined by Iris) that characterizes them, nor in the "aristocratic feminism" that targets and develops Bernardo Subercaseaux. ( 16) The question is whether our author is part of an aesthetic sense, vision world and way of life of these women of the Chilean aristocracy of the early twentieth century. Consider questionable that the work of Winette of Rokha part of this universe as she, in contrast, evolves from a spiritual sense and specifically Catholic Christian religion, to secular and materialistic conception both in its conception of art as in their social and policy with the world. In his letter to Gombrowicz 1946, she says:
"The religious form, in poetry, is the administration of self serving, that poetry of pop and self-defense. The secular is a collective art, that is, Marxism "but then qualifying as a pragmatic approach continues, "Poets do not need to expressly linkages with the environment because if they are poets are linked in fact with his time and humanity around them. Without it would be nonexistent. Art can not and should fall to the masses, this would be negligible. Are the masses who should ascend to the art. "
might think, rather, that the membership of Rokha Winette is closer to the work and creation of middle class women such as Olga Acevedo (1895-1970) and Gabriela Mistral (1889-1957), or intellectuals like Eloisa Diaz (1866-1950) and Amanda Labarca (1886-1975), who as know is an inescapable figure in feminist thought for its efficient Chilean struggle for intellectual development and social participation of women. Would agree "life and work of Winette with them? I can say that part, as in the cultural dispute between tradition and modernity that exists at the time, our author is divided between a "class mark" given by a pedigree of origin which binds to a particular social group, and personal choices that are affiliating to different situations throughout his life. In this sense, if we go to the division that provides Subercaseaux feminist discourse between an aristocratic Christian era, where would the first group, and another well mesocratic and secular, where the latter could be located, "Winette of Rokha belongs to the first by descent, but is affiliated to the second by choice (17).
other hand we have a writing Winette poems about Lenin, and with reference to Spain against Franco da rallies and also dedicated poems to The Passion, one to the "Popular Front 1937 '(18) and one dedicated to the children of the Soviet Union had a lot of broadcast and to highlight some verses:
flower to your heart, hurricanes
the world and its sunsets,
blue boy involved, sweet,
sun lit the north, east,
proletarian morning, owner of wheat bread
, the roof of pigeons happy
and heaven for the window .
Now if we make a brief tour of the reception of his literary work, we should date its official consecration as a poet with lyrics inclusion in Selva, 1917. There, under the name of Juana Inés de la Cruz, on one page, can be seen: a photo of study that adds to its beauty, a brief account of creation, within the listed hours of sun and What I said quietly, and three short poems. The tenor of this review is telling from the first line: "To compete with this country came portaliras Gabriela Mistral, Victoria Barrios, Olga Azevedo, Berta Quezada, Aida Lagos Moreno, Juana Inés de la Cruz. (The latter is a nickname that has nothing to do with the name of the Mexican poet Sor and preachy) "to, after some comments on his poetry, stating that:" Juana Inés de la Cruz speaks in a low voice, an almost platonic romance, almost unearthly. His sentence is hesitant, but misses the germ of a style nourished by expressions vague, imprecise, like the feeling that she is the mysterious cause of the indefinable. Their literature is reminiscent, but it is designed stumps own wings "(19), to finish by saying:" Gabriela Mistral, and consecrated, has a manly style, Juana Inés de la Cruz, still nascent, is intensely feminine " (437).
The Oreste Plath anthology of poets and poetry of Chile, published in 1941, also makes an interesting statement of our author because, in addition to the publication of long poem, "James City", and "Embrace or cluster "both texts Cantoral, the author argues that from sleep Forms (1927), his work has a value that "the sample defined in the Chilean avant-garde poetry" (Plath 51). Moreover, Antonio De Undurraga also included in his Atlas of poetry in Chile (1958), and although Cantoral includes four poems ("Head of male," "Law of Moses," "Life of Virgil" and "Yellow and August Flower ") validates as a poet only because of the influence of her husband
Soon, fate identifies and merges in marriage, the orbit of a poet: Pablo de Rokha. And his spirit in contact with a gigantic baroque seeks endowed with aphrodisiac scents (According to Nietzsche's concept) and dialectical new volumes take lyrical and unfolds in a second period free of convention.
Following this tour of the reception of his poetry, Juan de Luigi is one of the earliest and most attentive readers of his work. In it are the prologues of both Sum and destination (1951), as the anthology of his poetry published after his death in 1953. Highlight two quotes in the first of Luigi, contrary to the vision of De Undurraga, outlines the creation of Winette in relation to her husband saying: "inseparable partners in life and death has undone, different personalities in art, rather than artistic origin or popular goals, but at its pace, in their essence, their creative methods, the hallmark of his poetry. "(20) and then with respect to actual poetry that states: "core Winette created through partnerships, the perceptible material extends and joins with purely mental elements to take shape, color and weight" (Anthology, XXVIII). (21)
If we move into the next decade A selection of her poems appears in the anthology Women Chilean poetry (1963) (22). In presenting the above selection of poems including states which, unlike of the valley loses its atmosphere (1951) is known as a "poem matured in the shifting shadows of dreams and subjective" in his three previous books-Ways Sleep (1927), Cantoral (1936) and oneiromancy (1943 ) - it says that "the line of the verse is more everyday, almost objective. Perhaps it is a painting at times, where the color stands, leans her face and painful, and joyous. " And if we move forward in time and reached the nineties, in another anthology that includes, Eugenia Brito (1998) (23), is presented as one of the women who successfully enter the social theme poetry, but also adds that: "It is the first of a group of women to enter the observation of the objects of nature and human landscape of the ridge that bankrupts a state of things in order to involve a dimension "other" who becomes the first in a sort of allegory. "
To conclude, I want to emphasize that the above critical insights about the work of Rokha Winette also validated as a great author. A creation that binds and unites essential - mental with the material, to the extent seen in the poetic text "form, color and weight," according to Luigi, a daily verse poetry where the stroke, almost objective presents poems that may seem most notably the paintings and color, popping a "face and painful, and joyous", as stated in the anthology of the sixties and, finally, the reference in Brown's anthology of poetry that relates to objects, whether of nature or "human landscape" and that is able to observe reality from an "other" perspective, confirms the need to expand and read more diligent work of this poet. And not only the value contained in this creation in itself, but also the dimension that takes the context in which it is situated, and all the implications that his poetry is deployed and deploying in Chilean and Latin American cultural milieu.
I dare say that Rokha Winette of life was unprecedented and created a shocking and disturbing work that still refuses to be classified within the stereotypes that help us to sort reality. She was a woman where I was always her and "other." Women in the dialogue that many women: the daughter, granddaughter, lover, mother, artist, thinking about art, fighter for social justice. And the creator of a work in living, even before entering it, various artists: female names, male, painter, a nun. He was a poet capable of creating the word voices that break the boundaries between visual and spatial, linguistic and temporal, through a modern poetic writing, avant-garde, and where thoughts are outlined to the last limit, the description is limited to one or two terms fair, accurate and the images become in true concentrations of thoughts.
In other words, I think Rokha Winette of exploiting the issue minimum and pouring into small vessels, as discussed in Selva opera in 1917, in a gesture which goes far beyond their personal joys and sorrows, was ability to reflect on the page varied objects, portraits and genre scenes, which show the bright side or obscure the personal and social reality in its own style, independent, although we are not yet fully aware, has school in Chile and Latin poetry.
María Inés Zaldívar
Pontificia Universidad Católica de Chile
* * * BIBLIOGRAPHY
- Brito, Eugenia. Chilean poets anthology. Confiscation and silence. Santiago: Dolmen, 1998.
- De la Cerda E, Maria Soledad. "Pablo de Rokha, the fragility of a tough," What's Magazine, (3 February 2002).
- De Undurraga, Antonio. Atlas of the poetry of Chile. Santiago de Chile: Editorial Nascimento, 1958.
- Lizama, Patricio. Jean Emar. Art Notes. Santiago de Chile: RIL, Dibam, 2003.
- Molina Núñez, Julio, Araya, Juan Agustin. Selva lyrics. Studies on Chilean poets. Santiago de Chile: Directorate of Libraries, Archives and Museums and LOM Ediciones, 1995. 2 edition facsimile. (1 st edition 1917).
- Nómez, Nain. Critical Anthology of Chilean poetry. Volume II. Santiago: LOM Editions, 2000.
__. Critical Anthology of Chilean poetry. Volume III. Santiago: LOM Editions, 2002.
- Plath, Oreste. Poets and Poetry of Chile. Anthology. Santiago: Talleres Gráficos The Nation, 1941.
- Rokha, Luko's "Portrait of my father." In Paul's Rokha, Stone's friend. Autobiography. Santiago de Chile: Pehuén Publishers, 1989.
- Rokha, Paul. The friend stone. Autobiography. Santiago de Chile: Pehuén Publishers, 1989.
- Winette of Rokha. (Signed as Juana Inés de la Cruz). What I said quietly. (Luco Cruchaga Germain home.) Santiago 1915. (Poems), editorial unidentified.
___. (Signed as Juana Inés de la Cruz). Sun Hours of Santiago 1915. (Collection of short prose pieces, prefaced by Manuel Magallanes Moure) editorial unidentified.
___. (Signed as Juana Inés de la Cruz) in Selva lyrical studies of Chilean poets Julio Molina Núñez and Juan Agustin Araya, (O. Segura Castro), (1st edition) Santiago de Chile: Imp and Lit Soc Universe, 1917, (2 nd edition, facsimile). Santiago: LOM Ediciones, Dibam, 1995. xxv, 488 p.
___. Forms of sleep. Santiago: Kloo, Editor, 1927.
___. Cantoral. (Home of Pedro Olmos), Santiago, 1936. without editorial identified
___. Oneiromancy. (Home of Rokha Luko) Santiago de Chile: Editorial Crowd, 1943. ___
and Paul Rokha. The valley loses its atmosphere. Included in Arenga about art. Santiago de Chile: Editorial Crowd, 1949.
___. Amount and destination, poems. Santiago de Chile: Editorial Crowd, 1951.
___. Anthology poems. Santiago de Chile: Editorial Crowd, 1953.
- Steiner, Wendy. The Colors of Rhetoric. Chicago: University of Chicago Press, 1985.
- Subercaseaux, Bernardo. Genealogy of the Vanguard in Chile. Santiago: Ediciones Faculty of Humanities University of Chile. Studies Series, 1998.
___. Inés Echeverría (Iris) Alma feminine modern woman. Anthology. Santiago: Cuarto own, 2001.
___. History of ideas and culture in Chile. Volume III. The centennial and the avant-garde. Santiago: Editorial Universitaria, 2004.
- Urzua, Mary, Adriasola, Ximena. Women in the Chilean poetry. Santiago de Chile: Editorial Nascimento, 1963.
- Vejar, Francisco. "Poet and muse of top-flight." Book Review Journal The Mercury, Saturday May 18, 2002.
- www.memoriachilena.cl
* * * NOTES
(1) This introduction is a rewrite of the text "WINNET of Rokha and leader in Chile "appeared in Annals of Chilean literature six years No. 6, December 2005.
(2) The text I will use as reference in the quotations from the poems of Rokha Winette be: Sum and destination, poems. Santiago de Chile: Editorial Crowd, 1951.
(3) See Francisco Vejar, "Poet and muse of top-flight." Book Review Journal The Mercury, Saturday May 18, 2002.
(4) See Nómez Nain. Critical Anthology of Chilean poetry. Volume II. Santiago: LOM, 2000.
(5) I shall take your name Winette of Rokha, or simply Winette to refer to the author. In an interview I held in November 2004 with her daughter's Rokha Luko, I could clarify some aspects regarding the name Winette. She said this was simply a name invented by her parents considered pretty special, as they did under his own name Luko. It is interesting that in the privacy and family life Paul Rokha always until the end of his life called Luisita. With respect to your date of birth, in some biographies Winette appears born in 1892 and another in 1896, but Luko says that both his father and mother were born the same year, 1894.
(6) Quote taken from Charter lost to Carlos de Rokha. In Paul's Rokha. Epic fire. Anthology. Santiago: Editorial Universidad de Santiago, 1995.
(7) quotations from that of Luko to Flor, the youngest, were taken from Maria Soledad de la Cerda. "Pablo de Rokha, the fragility of a hard" What's Magazine, 03 February 2002.
(8) Ibid.
(9) Part of the interview I had with Rokha Luko of the November 2, 2004.
(10) See Maria Soledad De la Cerda. "Pablo de Rokha, fragile hard." What Magazine, 03 February 2002.
(11) The information presented is part of the interview I had with Sonia Tagle on April 20, 2007.
(12) Crowd magazine, whose first issue appeared in January 1939, was "generally" dedicated to the dissemination of fascist values. It also positioned itself as a friendly witness for the political, economic and social development of our country. (See web page memoriachilena.cl)
(13) In sum and destination, Chronography section under the picture of a newspaper clipping containing the poem "Lenin" of Winette of Rokha, the following text "Published in 1936 and translated into several languages, the" Lenin "of Winette of Rokha is the first poem that produces the English language on the global hero she is the first woman to sing the great figure of the twentieth century, the up to its enormous hierarchy. " See page XLIX.
(14) Taken from an interview of November 2, 2004.
(15) This anthology, which was conducted by Julio Molina Núñez and Juan Agustin Araya and originally published in 1917 under the title Jungle Lyric. Studies on the Chilean poet, is a large tome of 488 pages which was recently reissued in 1995, facsimile edition.
(16) See Genealogy of the Vanguard in Chile, (1998), Inés Echeverría (Iris) Alma feminine modern woman. Anthology (2001), and the history of ideas and culture in Chile. Volume III. The centennial and the vanguards (2004).
(17) Two examples illustrate this duality are: on the one hand the elegance of Rokha Winette dress (which included gloves and hat when the occasion warranted), confirmed both by the photographic evidence was, for his daughters, who say that his mother always dressed to the nines, elegant and distinguished both indoors and in public places. In this regard Luko tells me that although their grandparents failed to supply the piano that his mother always played in his childhood and early youth, on leaving the parental home, her grandmother worried that extreme care Winette as she dressed as befitted to "class."
(18) The poem "Popular Front in 1937" concludes by saying, "By the dawn of your claims, crowd! / for bread and freedom workers, / for sacred fists your workers "(119).
(19) It is interesting to note that this expression have "knuckles own wings", referring to the story-much later-Bombal, specifically the situation of women / Seagull "new islands."
(20) Quote taken from, Winette of Rokha. Anthology poems. Santiago de Chile: Editorial Crowd, 1953.
page XXIII (21) An example that makes Luigi is the poem "Santiago City, where he says:" American City, daring and thought, / te sticks a high fence, where you drop it / that influence boreal white and silent snow. / Torres as flames illuminate skyscrapers in the afternoon, / avenues toward the horizon, love seats, bell yesterday. "
(22) See Ximena Maria Urzua and Adriasola. Women in the Chilean poetry. Santiago de Chile : Editorial Nascimento, 1963.
(23) See Anthology of Chilean poets. Confiscation and silence. Santiago: Dolmen, 1998.
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