TRANSLATIN JOYCE LITERATURES OF THE AMERICAS About the Series This series seeks to bring forth contemporary critical interventions within a hemispheric perspective, with an emphasis on perspectives from Latin America. Books in the series highlight work that explores concerns in litera- ture in different cultural contexts across historical and geographical bound- aries and also include work on the specific Latina/o realities in the United States. Designed to explore key questions confronting contemporary issues of literary and cultural import, Literatures of the Americas is rooted in tra- ditional approaches to literary criticism but seeks to include cutting-edge scholarship using theories from postcolonial, critical race, and ecofeminist approaches. Series Editor Norma E. Cantú is Professor of English and US Latino Studies at the University of Missouri, Kansas City and Professor Emerita from the University of Texas at San Antonio. Her edited and coedited works include Inside the Latin@ Experience (2010), Telling to Live: Latina Feminist Testimonios (2001), Chicana Traditions: Continuity and Change (2000), and Dancing Across Borders: Danzas y Bailes Mexicanos (2003). Books in the Series: Radical Chicana Poetics Ricardo F. Vivancos Pérez Rethinking Chicano/a Literature through Food: Postnational Appetites Edited by Nieves Pascual Soler and Meredith E. Abarca Literary and Cultural Relations between Brazil and Mexico: Deep Undercurrents Paulo Moreira Mexican Public Intellectuals Edited by Debra A. Castillo and Stuart A. Day TransLatin Joyce: Global Transmissions in Ibero-American Literature Edited by Brian L. Price, César A. Salgado, and John Pedro Schwartz TransLatin Joyce Global Transmissions in Ibero-American Literature Edited by Brian L. Price, César A. Salgado, and John Pedro Schwartz ISBN 978-1-349-48818-6 ISBN 978-1-137-40746-7 (eBook) DOI 10.1057/9781137407467 TRANSLATIN JOYCE Copyright © Brian L. Price, César A. Salgado, and John Pedro Schwartz, 2014. Softcover reprint of the hardcover 1st edition 2014 978-1-137-40745-0 All rights reserved. First published in 2014 by PALGRAVE MACMILLAN® in the United States— a division of St. Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Where this book is distributed in the UK, Europe and the rest of the world, this is by Palgrave Macmillan, a division of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. ISBN: 978–1–137–40745–0 Library of Congress Cataloging-in-Publication Data TransLatin Joyce : Global Transmissions in Ibero-American Literature / eds. Brian L. Price, César A. Salgado, John Pedro Schwartz. pages cm.—(Literatures of the Americas) Includes bibliographical references. ISBN 978–1–137–40745–0 (hardback : alk. paper) 1. Spanish American literature—History and criticism 2. Joyce, James, 1882–1941—Influence. I. Price, Brian L., 1975– editor of compilation. II. Salgado, César Augusto, editor of compilation. III. Schwartz, John Pedro, editor of compilation. PQ7081.T785 2014 860.9(cid:25)98—dc23 2013044639 A catalogue record of the book is available from the British Library. Design by Newgen Knowledge Works (P) Ltd., Chennai, India. First edition: May 2014 10 9 8 7 6 5 4 3 2 1 Contents Acknowledgments vii Introduction: The Global Paradigm in Fourth-Wave Ibero-American Criticism on James Joyce ix César A. Salgado with Brian L. Price and John Pedro Schwartz Part I The Iberian Peninsula Chapter 1 Re-creating Ulysses across the Pyrenees: Antonio Marichalar’s Spanish-European Critical Project 3 Gayle Rogers Chapter 2 The Geopolitics of Modernist Impersonality: Pessoa’s Notes on Joyce 25 John Pedro Schwartz Part II Argentina Chapter 3 Between Wandering Rocks: Joyce’s Ulysses in the Argentine Culture Wars 57 Norman Cheadle Chapter 4 The Cracked Lookingglass of the Servants: Joyce, Arlt (and Borges) 89 Francine Masiello Part III Cuba Chapter 5 Detranslating Joyce for the Cuban Revolution: Edmundo Desnoes’s 1964 Edition of Retrato del artista adolescente 121 César A. Salgado vi CONTENTS Chapter 6 Replaying Joyce: Echoes from Ulysses in Severo Sarduy’s Auditory Imagination 155 Paula Park Part IV Mexico Chapter 7 A Portrait of the Mexican Artist as a Young Man: Salvador Elizondo’s Dedalean Poetics 181 Brian L. Price Chapter 8 Mexican Antimodernism: Ulysses in Gustavo Sainz’s Obsesivos días circulares 211 José Luis Venegas Chapter 9 Crediting the Subject, Incorporating the Sheep: Cristóbal Nonato as the New Creole Ulysses? 229 Wendy B. Faris Contributors 253 Index 257 Acknowledgments T ransLatin Joyce has been an exciting project. Looking back over the process, I am grateful for the opportunity to have worked with César Salgado and John Pedro Schwartz. I have learned from their expansive readings and benefited from their critical insights. It has been a plea- sure to meet, both personally and virtually, all of the scholars who have contributed to TransLatin Joyce, and I thank them for their exemplary scholarship. Special thanks are in order for Brigitte Shull and her edito- rial and production teams at Palgrave Macmillan for their support and outstanding work, as well as for Ignacio Sánchez Prado and José Luis Venegas, two friends and colleagues who have contributed greatly to and expanded my thinking about Latin America and world literature. And finally, I offer heartfelt thanks to my wife, Janine. My work here is, as always, dedicated to her. B. L. P. In part, TransLatin Joyce comes about as a happy consequence of the graduate seminar on Joyce and Latin American postcolonial writing that I have been fortunate to teach every three or four years for the Program of Comparative Literature at the University of Texas at Austin since 1994. Both of my coeditors were once students in the course on separate occasions: John Pedro Schwartz in 1999, Brian Price in 2002. Sometime in the summer of 2007, John Pedro contacted me to suggest that we put together an edited volume inspired by the seminar’s critical sourcebook. About two weeks later, Brian wrote with exactly the same proposal. I realized then that I had to approach these twin requests as a scholarly mandate and not as a coincidence—as a gap in the field of comparative studies and in the scholarship on Ibero-American literary modernity that had to be addressed. In 2008 I called them to a meeting in my UT Austin office, the only in-person encounter as a team we’ve had throughout this odyssey. After that we worked together assiduously on TransLatin Joyce in virtual space, year in and year out, skyping or e-mailing from the most unusual locales. I thank them for their initiative and for their great professional acumen as we put together this unique viii ACKNOWLEDGMENTS collection; I couldn’t be happier with the results. Special thanks go to my family, to the staff at Palgrave Macmillan, to all our contributors, and to colleagues Mark Wollaeger, Suzanne Jill Levine, Juan Pablo Lupi, and Elizabeth Richmond Garza for their support, patience, and wisdom. I dedicate my share of work in this volume to all the students who ever registered in my Joyce seminar. C. A. S. TransLatin Joyce represents the intersection and culmination of two tracks in my scholarly career. Credit for sparking my interest in Latin American literature goes to César Salgado, whose graduate seminar on Hispanic Joyce led me to deepen my study of Borges, Cortázar, and other Argentine masters at the Universidad de Buenos Aires in 2000–2001. Jerónimo Pizarro merits gratitude for imparting to me his enthusiasm for Pessoa at a modernism conference in Porto in March 2012. Both of my co-editors, César and Brian, supplied key ideas for my essay on Joyce and Pessoa, while Jéronimo went out of his way to furnish me with crucial scholarly sources. My essay grew out of a critical bibliography on Portuguese translations of Joyce co-researched and co-written with Ana Raquel Fernandes at the Biblioteca Nacional in Lisbon in summer 2012. The bibliography, filling as it does an important gap in existing scholarship on Joyce’s reception in Europe, turned out to be best suited for publication in a Joyce journal. I owe a debt to Ana both for her warm collaboration and for teaching me about the history of Portuguese mod- ernism. Final thanks must go to Pauly Ellen Bothe for sharing with me her deep knowledge of Pessoa. J. P. S. Introduction: The Global Paradigm in Fourth-Wave Ibero-American Criticism on James Joyce César A. Salgado with Brian L. Price and John Pedro Schwartz A recent hullabaloo in virtual media confronting two very different types of global authors may help illustrate the purpose of this collec- tion of comparative essays about James Joyce’s role in shaping the geopolitical cartography of transatlantic modernism in Iberia and the Americas. It may also explain the choice of this volume’s polysemous title, TransLatin Joyce. The rapid spread of this viral spat throughout the blogosphere reminds us of how Joyce’s work still serves as a powerful counter in debates on world literary culture in our postcolonial and post- modern “globalized” present. It also reminds us of the persistent appeal of latinidad as a transcontinental and hemispheric cultural system with the potential to confront and resist dominant forms of hegemony that issue from a Eurocentric, mainly Anglo-Saxon “Global North.” The online uproar was ignited by an August 4, 2012, article in the cultural news section of Folha de S. Paulo announcing international best- selling Brazilian author Paulo Coehlo’s latest novel, Manuscript Found in Accra. When journalist Rodrigo Levino raised the by-now-standard question of why professional critics continue to belittle Coehlo’s writ- ing in the face of phenomenal worldwide sales, unmatched Facebook popularity, and myriad celebrity endorsements, Coehlo interrupted the promotion routine to pick a fight with an Irish author dead for 71 years. Taking a predictable page from a long line of anti-Joyce complainers, Coehlo railed against the stylistic experiments in Ulysses, declaring it “um dos livros que fez esse mal à humanidade” [one of those books harmful to humanity]. In a show of smug stardom tinged with anxieties about canonical legitimacy, this author of vapid parables of mystical self- discovery presented himself as a better model, the real “modern” writer of globalized literature since, unlike Joyce, he was able to “faço o difícil parecer simples e, assim, me comunico com o mundo inteiro” [make