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| omnipoetics:jetman_haylli [2025/04/23 16:59] – [Key Terms & Possible Interpretations] holly | omnipoetics:jetman_haylli [2025/04/24 00:45] (current) – [Jetman, Haylli (Ode to the Jet Plane) by José María Arguedas] angela |
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| | ====== Jetman, Haylli (Ode to the Jet Plane) by José María Arguedas ====== |
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| <WRAP center round info 60%> | <WRAP center round info 60%> |
| Serpent and the Fire (p. 422-423) | Serpent and the Fire (p. 422-423) |
| </WRAP> | </WRAP> |
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| ====== Jetman, Haylli (Ode to the Jet Plane) by José María Arguedas ====== | |
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| In the anthology //Serpent and the Fire: Poetries of the Americas from Origins to Present//, Jerome Rothenberg and Javier Taboada include a translation of José María Arguedas’ poem “Jetman, Haylli (Ode to the Jet Plane)” from Arguedas’ poetry collection titled //Katatay//. | In the anthology //Serpent and the Fire: Poetries of the Americas from Origins to Present//, Jerome Rothenberg and Javier Taboada include a translation of José María Arguedas’ poem “Jetman, Haylli (Ode to the Jet Plane)” from Arguedas’ poetry collection titled //Katatay//. |
| * Listen to the Poem: [[https://www.youtube.com/watch?v=pR8AduibpGI|BICENTENARIO OLVIDO / Capítulo VI: José María Arguedas. Jetman, haylli (Oda al Jet)]] | * Listen to the Poem: [[https://www.youtube.com/watch?v=pR8AduibpGI|BICENTENARIO OLVIDO / Capítulo VI: José María Arguedas. Jetman, haylli (Oda al Jet)]] |
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| * Read //Katatay// Online: [[https://www.casadelaliteratura.gob.pe/wp-content/uploads/2020/05/Katatay.pdf|Katatay PDF]] | * Read //Katatay// Online in Quechua and Spanish: [[https://www.casadelaliteratura.gob.pe/wp-content/uploads/2020/05/Katatay.pdf|Katatay PDF]] |
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| ===== Katatay ===== | ===== Katatay ===== |
| Written between 1962 and 1969 and published posthumously in 1972, this collection of 7 poems is regarded as the origin of modern Quechua poetry in Peru. Its title means "to tremble" (as in an earthquake) because the poems reflect both cultural changes and innovations in language, which Arguedas called "indigenous vanguardism". | Written between 1962 and 1969 and published posthumously in 1972, this collection of 7 poems is regarded as the origin of modern Quechua poetry in Peru. Its title means "to tremble" (as in an earthquake) because the poems reflect both cultural changes and innovations in language, which Arguedas called "indigenous vanguardism". ((Arguedas, José María. Katatay. Casa de la Literatura Peruana, 2020, https://www.casadelaliteratura.gob.pe/wp-content/uploads/2020/05/Katatay.pdf. Accessed 26 March 2025.)) |
| Arguedas wrote the poems using several Quechua dialects and also translated them into Spanish,"in christian and in indian", in his own words, thus creating a bridge between those two languages and becoming a "cultural mediator" in his first attempt at poetry. | Arguedas wrote the poems using several Quechua dialects and also translated them into Spanish,"in christian and in indian", in his own words, thus creating a bridge between those two languages and becoming a "cultural mediator" in his first attempt at poetry. |
| His use of the poetic subject //wakey runa// (//hermano//, 'brother') can be interpreted as individual or collective, expressing human suffering as a search for meaning that brings nature, men, and gods together in poems that provide an indigenous view of important socio-political moments in history. | His use of the poetic subject //wakey runa// (//hermano//, 'brother') can be interpreted as individual or collective, expressing human suffering as a search for meaning that brings nature, men, and gods together in poems that provide an indigenous view of important socio-political moments in history. ((Mancosu, Paola. “Hacia una aproximación ontológica en los Estudios de Traducción: El caso de José María Arguedas.” Meta, volume 67, number 2, august 2022, p. 337–355. https://doi.org/10.7202/1096259ar)) |
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| ===== A Note on the English Translation ===== | ===== A Note on the English Translation ===== |
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| For the //Serpent and the Fire: Poetries of the Americas from Origins to Present//, Arguedas' poem was translated by Javiar Taboada. However, Taboada translated the Spanish version of the poem into English. The Spanish version was translated by Alfredo Torero and José María Arguedas. ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, pp. 423)) In Spanish, the title of the poem is "Oda al Jet," and in Quechua, the poem is titled "Jetman, Haylli." | For the //Serpent and the Fire: Poetries of the Americas from Origins to Present//, Arguedas' poem was translated by Javier Taboada. However, Taboada translated the Spanish version of the poem into English. The Spanish version was translated by Alfredo Torero and José María Arguedas. ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, pp. 423)) In Spanish, the title of the poem is "Oda al Jet," and in Quechua, the poem is titled "Jetman, Haylli." |
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| * If you are interested in how the poem may have evolved, given the fact that the version in the anthology was technically translated twice, it may be helpful to read more about Javier Taboada's process as a translator and his views on translation. In an interview with Dylan Brennan, Taboada describes translation in the following way: "It is obvious that translation, as reading or as a constant act, not only modifies one’s own voice, but also changes literary traditions. One day, those who study the national poetry of certain regions will pay more attention to the translated works that their poets have read as opposed to the original versions.” ((Taboada, Javier. “From Mexico Apothecary Poems & Interview: Javier Taboada – Dylan Brennan.” Numero Cinco, 2016, https://numerocinqmagazine.com/2016/01/11/from-mexico-apothecary-poems-interview-javier-taboada-dylan-brennan/, par, 8)) | * If you are interested in how the poem may have evolved, given the fact that the version in the anthology was technically translated twice, it may be helpful to read more about Javier Taboada's process as a translator and his views on translation. In an interview with Dylan Brennan, Taboada describes translation in the following way: "It is obvious that translation, as reading or as a constant act, not only modifies one’s own voice, but also changes literary traditions. One day, those who study the national poetry of certain regions will pay more attention to the translated works that their poets have read as opposed to the original versions.” ((Taboada, Javier. “From Mexico Apothecary Poems & Interview: Javier Taboada – Dylan Brennan.” Numero Cinco, 2016, https://numerocinqmagazine.com/2016/01/11/from-mexico-apothecary-poems-interview-javier-taboada-dylan-brennan/, par, 8)) |
| __The Difficulty of Translating Arguedas__ | __The Difficulty of Translating Arguedas__ |
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| It is difficult to find “Ode to the Jet Plane” online, and most articles related to the poem are in Spanish. While this may be a barrier for people who do not speak Spanish, there is an explanation for why so few translations are available to read. In particular, in the introduction to José María Arguedas' novel, //Deep Rivers//, John V. Murra points out that “Arguedas did not write with us [English speakers] in mind.” ((Murra, John V. “Introduction.” //Deep Rivers//. Waveland Press, 1978, p. xi)) Murra then provides an example of this citing a time when “He [Arguedas] was not surprised when a Scottish poet told him he found //Los Rios Profundos// [Deep Rivers] untranslatable....he [Arguedas] still saw himself as talking not only about the Andean peoples, but for and //to// them.” ((Murra, John V. “Introduction.” //Deep Rivers//. Waveland Press, 1978, p. xi)) This is hinted at in Rothenberg and Taboada's anthology as they maintain that despite Arguedas' innovative writing style, "for his Quechua readers or listeners, some of the old oral structures remain recognizable." ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, pp. 424)) | It is difficult to find “Ode to the Jet Plane” online, and most articles related to the poem are in Spanish. While this may be a barrier for people who do not speak Spanish, there is an explanation for why so few translations are available to read. In particular, in the introduction to José María Arguedas' novel, //Deep Rivers//, John V. Murra points out that “Arguedas did not write with us [English speakers] in mind.” ((Murra, John V. “Introduction.” //Deep Rivers//. Waveland Press, 1978, p. xi)) Murra then provides an example of this citing a time when “He [Arguedas] was not surprised when a Scottish poet told him he found //Los Ríos Profundos// [Deep Rivers] untranslatable....he [Arguedas] still saw himself as talking not only about the Andean peoples, but for and //to// them.” ((Murra, John V. “Introduction.” //Deep Rivers//. Waveland Press, 1978, p. xi)) This is hinted at in Rothenberg and Taboada's anthology as they maintain that despite Arguedas' innovative writing style, "for his Quechua readers or listeners, some of the old oral structures remain recognizable." ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, pp. 424)) |
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| The Spanish version (Oda al Jet) is longer than the Quechua version (Jetman, haylli) because when Arguedas rewrites the poem he often adds paraphrases that explain and add to the meaning of the verse in Quechua, attempting, in his own words, “a true, non-literary translation” that avoids elements that are not present in the text in Quechua. | The Spanish version (Oda al Jet) is longer than the Quechua version (Jetman, haylli) because when Arguedas rewrites the poem he often adds paraphrases that explain and add to the meaning of the verse in Quechua, attempting, in his own words, “a true, non-literary translation” that avoids elements that are not present in the text in Quechua. |
| He also incorporates culturally foreign terms into Quechua. For example, when the lyrical speaker invokes the Trinity in Quechua (“Dios Yaya, Dios churi, Dios Espíritu Santo”), there is an indigenization of these Christian symbols: //Dios Yaya// literally translates as ‘man/woman of God’, but it appears as //Dios Padre// in Spanish; //churi// is literally ‘son of the father’, but it is translated as //Dios hijo//. | He also incorporates culturally foreign terms into Quechua. For example, when the lyrical speaker invokes the Trinity in Quechua (“Dios Yaya, Dios churi, Dios Espíritu Santo”), there is an indigenization of these Christian symbols: //Dios Yaya// literally translates as ‘man/woman of God’, but it appears as //Dios Padre// in Spanish; //churi// is literally ‘son of the father’, but it is translated as //Dios hijo//. ((Mudarra Montoya, Américo. 2009. «“Oda Al Jet” De José María Arguedas O La Conflictiva apropiación De La Modernidad». Escritura Y Pensamiento 12 (25):55-62.)) |
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| ===== Poem's Structure & Themes ===== | ===== Poem's Structure & Themes ===== |
| The poem has the expressive tone of a pre-Hispanic Quechua song and its lyrical speaker voices admiration for a modern object, the jet plane, using animal and nature metaphors –distinctive features of Quechua culture– to describe it: “wind-fish”, “swallow-fish of wind”, “flying fire”, “golden-and-heavenly- swallow”, “immense snow-bird”. | The poem has the expressive tone of a pre-Hispanic Quechua song and its lyrical speaker voices admiration for a modern object, the jet plane, using animal and nature metaphors –distinctive features of Quechua culture– to describe it: “wind-fish”, “swallow-fish of wind”, “flying fire”, “golden-and-heavenly- swallow”, “immense snow-bird”. ((Mudarra Montoya, Américo. 2009. «“Oda Al Jet” De José María Arguedas O La Conflictiva apropiación De La Modernidad». Escritura Y Pensamiento 12 (25):55-62.)) |
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| ===== Key Terms & Possible Interpretations ===== | ===== Key Terms & Possible Interpretations ===== |
| * “the condor” ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 7)) - According to WCS Peru, a Wildlife Conservation Society, the Andean Condor’s “name in [Q]uechua is //kuntur// and the Incas believed it was immortal—it represented the //Jananpacha//, the upper world of the sky and future.” ((Wildlife Conservation Society, “Andean Condor.” WCS Peru, 2019, https://peru.wcs.org/en-us/wildlife/andean-condor.aspx, para. 5)) | * “the condor” ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 7)) - According to WCS Peru, a Wildlife Conservation Society, the Andean Condor’s “name in [Q]uechua is //kuntur// and the Incas believed it was immortal—it represented the //Jananpacha//, the upper world of the sky and future.” ((Wildlife Conservation Society, “Andean Condor.” WCS Peru, 2019, https://peru.wcs.org/en-us/wildlife/andean-condor.aspx, para. 5)) |
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| * “God the Father, God the Son, God the Holy Ghost” ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 9)) - On a webpage titled “Resistance and Adaptation,” posted on the National Museum of the American Indian’s site, an explanation for the inclusion of the above lines appears. Namely, “Though Spain dismantled their government and religious systems, Andeans found ways to keep their traditions alive. They continued to speak the Quechua and Aymara languages. They adopted the Catholic religion but blended its customs with older beliefs.” ((National Museum of the American Indian. “Resistance and Adaptation.” Smithsonian, 2016, https://americanindian.si.edu/inkaroad/invasion/resistance-adaptation.html, para. 1)) | * “God the Father, God the Son, God the Holy Ghost” ((Rothenberg, Jerome and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 9)) - On a webpage titled “Resistance and Adaptation,” posted on the National Museum of the American Indian’s site, an explanation for the inclusion of the above line appears. Namely, “Though Spain dismantled their government and religious systems, Andeans found ways to keep their traditions alive. They continued to speak the Quechua and Aymara languages. They adopted the Catholic religion but blended its customs with older beliefs.” ((National Museum of the American Indian. “Resistance and Adaptation.” Smithsonian, 2016, https://americanindian.si.edu/inkaroad/invasion/resistance-adaptation.html, para. 1)) |
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| * "sacred mountains"((Rothenberg, Jerome, and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 17)) - The National Museum of American Indians states that “Andean people blended Catholicism with their older beliefs…[and,] [s]ometimes this was simply a matter of reassigning meaning – an //apu// (mountain spirit) became Christ and Pachamama (Mother Earth) became the Virgin Mary” ((National Museum of the American Indian. “Resistance and Adaptation.” Smithsonian, 2016, https://americanindian.si.edu/inkaroad/invasion/resistance-adaptation.html, para. 5)) Additionally, in Franklin Pease’s* article, “The Andean Creator God,” Pease maintains that “The wamani (mountains) are second gods, [and] from them is born the water that makes life possible.” ((Pease, Franklin. “The Andean Creator God.” JSTOR, Numen, vol. 17., no. 3., 1970, p. 173)) | * "sacred mountains"((Rothenberg, Jerome, and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 17)) - The National Museum of the American Indian states that “Andean people blended Catholicism with their older beliefs…[and,] [s]ometimes this was simply a matter of reassigning meaning – an //apu// (mountain spirit) became Christ and Pachamama (Mother Earth) became the Virgin Mary” ((National Museum of the American Indian. “Resistance and Adaptation.” Smithsonian, 2016, https://americanindian.si.edu/inkaroad/invasion/resistance-adaptation.html, para. 5)) Additionally, in Franklin Pease’s* article, “The Andean Creator God,” Pease maintains that “The wamani (mountains) are second gods, [and] from them is born the water that makes life possible.” ((Pease, Franklin. “The Andean Creator God.” JSTOR, Numen, vol. 17., no. 3., 1970, p. 173)) |
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| * "God Inkarri" ((Rothenberg, Jerome, and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 46)) - In his article, Pease summarizes the story of Inkarri, writing: | * "God Inkarri" ((Rothenberg, Jerome, and Javier Taboada, //Serpent and the Fire: Poetries of the Americas from Origins to Present//, "Jetman Haylli (Ode to the Jet Plane)" by José María Arguedas, University of California Press, 2024, p. 422, line 46)) - In his article, Pease summarizes the story of Inkarri, writing: |
