C A R L O S A. A G U I L E R A
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PORTRAIT OF A. HOOPER AND HIS WIFE
Translated by Gabriel Gudding
for Carmen, the farmer
Prologue
Portrait of A. Hooper and His Wife is a machine. Better: it was “constructed” in the same way that one constructs a machine: by pieces, by couplings. Its logic is as follows: to elaborate a relation that situates one outside what the Institution has thought. From there, its verticality, its conceptualism. This mechanical manner of constructing The Writing. From there, its “problem.”
In Cuban Literature there are barely: Problems. I want to say: there barely exists a Literature as Problem. As Play. As Transgression. As Pleasure. All has been centralized. Brought to its maximum Ontologization. All has been converted to Territory. Territory that has become a parcel-of-ridiculous-jokes. Territory that has become an oedipal-stagnation-of-taste.
If they ask me (If, perhaps, they ask me) the manner, or: the manners, in which one should read this poem, I would respond (like Nietzsche): in a cynical and effective manner. In the same way in which (at night) we slap our wife, and, in the morning following (clean-teeth, well-shaved-face) we ask her if she'll make us breakfast.
C. A. A.
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[Audio of Aguilera reading this poem is available here.]
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