Table Of ContentTRANSLATIN 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,
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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
