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«Inexperta», «apasionada», «guapita»: guía para descalificar a una escritora

Inexperta, demasiado joven, muy apasionada, inocente, guapita, moderna y superficial, demasiado afectada, muy femenina, feminista, sólo para mujeres, aprovechada, gorda, con quién se habrá acostado, de quién será amiga, exótica, una moda, mañana ya nadie hablará de ella…
 

De entre esta lista de afectuosos adjetivos y descripciones podríamos encontrar el que podría definirte si tú, querido lector, fueras una mujer y tu trabajo y devoción fuera la escritura, y más específicamente la poesía.
 

Está comprobado: ninguna poeta se libra de tales calificaciones. O más bien, de tales descalificaciones. Cuando una mujer asoma la cabeza por el mundillo literario, que ya de por sí es vengativo, endogámico y plagado de envidias, el baño de prejuicios suele ser inmediato.
 

La semana pasada, cuando en Reino Unido se hizo público el nombre de la nueva ganadora del premio T.S. Eliot de poesía, la polémica sobre el sexismo en la literatura volvió a ponerse sobre la mesa.

En esta ocasión era Sarah Howe la que se hacía con uno de los galardones más prestigiosos de la literatura británica gracias a su libro Loop of Jade (Chatto), un breve poemario que la autora había escrito durante casi 10 años, y donde rememora algunas escenas de su tumultuoso pasado.
 

Howe, cuya historia familiar siempre ha marcado su vida —una historia de adopción, de dobles nacionalidades, de negación de los orígenes, de superación— decidió escribir sobre lo que tenía más a mano, con la esperanza de que otras personas pudieran reconocerse en sus palabras.

Sigue leyendo en PlayGround Noticias.

Dos poemas de Sara Howe tomados de su web

Frenzied

Maybe holding back
is just another kind

of need. I am a blue
plum in the half-light.

You are a tiger who
eats his own paws.

The day we married
all the trees trembled

as if they were mad –
be kind to me, you said.

*

TAME

It is more profitable to raise geese than daughters.
– CHINESE PROVERB
 
This is the tale of the woodsman’s daughter. Born with a box
               of ashes set beside the bed,
in case. Before the baby’s first cry, he rolled her face into the cinders –
               held it. Weak from the bloom
of too-much-blood, the new mother tried to stop his hand. He dragged
               her out into the yard, flogged her
with the usual branch. If it was magic in the wood, they never
               said, but she began to change:

her scar-ridged back, beneath his lashes, toughened to a rind; it split
               and crusted into bark. Her prone
knees dug in the sandy ground and rooted, questing for water,
               as her work-grained fingers lengthened
into twigs. The tree – a lychee – he continued to curse as if it
               were his wife – its useless, meagre
fruit. Meanwhile the girl survived. Feathered in greyish ash,
               her face tucked in, a little gosling.

He called her Mei Ming: No Name. She never learned to speak. Her life
               maimed by her father’s sorrow.
For grief is a powerful thing – even for objects never conceived.
               He should have dropped her down
the well. Then at least he could forget. Sometimes when he set
               to work, hefting up his axe
to watch the cleanness of its arc, she butted at his elbow – again,
               again – with her restive head,

till angry, he flapped her from him. But if these silent pleas had
               meaning, neither knew.
The child’s only comfort came from nestling under the
               lychee tree. Its shifting branches
whistled her wordless lullabies: the lychees with their watchful eyes,
               the wild geese crossing overhead.
The fruit, the geese. They marked her seasons. She didn’t long to join
               the birds, if longing implies

a will beyond the blindest instinct. Then one mid-autumn, she craned
               her neck so far to mark the geese
wheeling through the clouded hills – it kept on stretching – till
               it tapered in a beak. Her pink toes
sprouted webs and claws; her helpless arms found strength
               in wings. The goose daughter
soared to join the arrowed skein: kin linked by a single aim
               and tide, she knew their heading

and their need. They spent that year or more in flight, but where –
               across what sparkling tundral wastes –
I’ve not heard tell. Some say the fable ended there. But those
               who know the ways of wild geese
know too the obligation to return, to their first dwelling place. Let this
               suffice: late spring. A woodsman
snares a wild goose that spirals clean into his yard – almost like
               it knows. Gripping its sinewed neck

he presses it down into the block, cross-hewn from a lychee trunk.
               A single blow. Profit, loss.

También se pueden leer poemas de Sara Howe traducidos al español en la web Círculo de Poesía.

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