WOMPO First annual festival of women's poetry

The WOMPO women’s poetry mailing list has had an amazing month on its bulletin board; all of November they’ve hosted The First Annual Festival of Women’s Poetry online.

Their (our) international section, Women Poets from Around the World, is notable for over 100 posts on Filipina poets, curated by Luisa A. Igloria.

I’ve also really been enjoying the Foremothers posts by Ellen Moody. She gathers up poems by women from around the world from the past, and helps us not to lose our history as women poets. I respect her taste in poetry a lot and her blogging (and emailing) is impressively thorough.

Thanks to Shayla Mollohan and the rest of the WOMPO team for all their work this month! And to the list, just for being there all these years. Mostly, I’m a lurker there. But I love that list, especially for their self-organizing principles and all the people who step up and do the work.

Translation: Magda Portal

I have not looked further for poems by Magda Portal but she seems well worth a look. If you read the little biography I wrote up below, you will see part of why I get very annoyed at the ways the vanguard, ultraism, modernismo, etc. are described as being somehow essentially masculine!

Note here too that Portal’s early work was published under a pseudonym; this is very common for the women poets I was researching. Because of their gender and the pressures of family, they had to fracture their identity, which fractures their body of work as writers. With time and distance it becomes increasingly more difficult to piece together a picture of their work as a whole and its importance. Despite Portal’s stature as a writer in Latin America for most of the 20th century I have not seen her poetry in recent anthologies in Spanish or English.

Portal’s history of activism and leftist politics is very interesting!

Magda Portal (1901-1989)

Magda Portal, a Peruvian novelist, poet, essayist, and magazine editor, tended to write about feminist themes and activist struggle. She was in socialist literary circles and published in Amauta, along with María Wiesse, Angela Ramos, Alicia del Prado, Catalina Recavarren, and José Carlos Mariátegui, She was forced into exile from Peru in the late 1920s, living in Mexico, Cuba, Puerto Rico, Colombia, Venezuela, and Bolivia. The Peruvian government imprisoned her mother, teenage sister, and her infant daughter. She wrote extensively about Flora Tristan, the French feminist and writer who wrote about her visit to Peru during the wars of independence (Bustamente Moscosos). Her early poetry was published under the name Tula Sovaina (Reedy 490).

María Monvel describes Portal’s poetry with suspicion, mentioning “unánimismo,” a vanguardist and surrealist literary movement which arose from the French and Latin American Symbolists. Unánimismo is also the title of a book by early 20th century Cuban writer María Buceta Villar. Monvel’s acerbic judgement on Portal is as follows:

Del mismo tipo que Blanca Luz Brum, estas dos poetisas ofrecen pocas diferencias. Abanderas al ultraismo desde su nacimiento, se han hecho notables allí por sus versos buenos o malos. Respetuosos del juego unánime a que se ha entregado la gente de letras, temeríamos caer en error al juzgarlas sin comprenderlas. Preferimos, luego de atacarlas y darles aquí sitio, entregarlas al juicio de sus semejantes. (175)

Of the same brand as Blanca Luz Brum, these two poets offer few differences. Standard-bearers for Ultraism since their birth, they have gained fame through their verses, good or bad. Highly respectable as it is–this “unánime” game which people of letters have taken up–we fear falling in error to judge them without understanding them. We prefer, after contradicting them and giving them space, to deliver them to the judgement of the like-minded.

Magda Portal’s early works include Ánima absorta (1923), El desfile de miradas (1923), Vidrios de amor (1926), El derecho de matar (1926), Varios poemas a la misma distancia (1927), Constancia del Ser (1928), Una esperanza y el mar (1927), América Latina contra el Imperialismo (1931), and Hacia la mujer nueva (1933).

“Liberación” could be written in response to (or could be an inspiration for) José Carlos Mariátegui’s assertion that women poets are held back from true greatness by sexual and poetic inhibition. Vicky Unruh describes Portal as an important vanguardist critic who helped define the movement with her position papers in Amauta, and points out the irony that her reactions against male-dominated modernismo’s “rendition of women as static embodiments of aesthetic creeds” was then metamorphosed by Mariátegui into the new muse of Peruvian literary culture, as a natural and biological force of womanhood who wrote without artifice (Unruh, Performing 177).

Liberación  (from “Los poemas torturados”)

Un día seré libre, aún más libre que el viento,
será claro mi canto de audaz liberación
y hasta me habré librado de este remordimiento
secreto que me hunde su astilla al corazón.
Un día seré libre con los brazos abiertos,
con los ojos abiertos y limpios frente al sol,
el Miedo y el Recuerdo no estarán encubiertos
y agazapados para desgarrarme mejor.
Un día seré libre . . . Seré libre presiento,
con una gran sonrisa a flor de corazón,
con una gran sonrisa como no tengo hoy.
Y ya no habrá la sombra de mi remordimiento,
el cobarde silencio que merma mi Emoción.
Un día habré logrado la verdad de mi Yo!


One day I'll be free, even freer than the wind;
my verse will be bright with daredevil liberation
after I've freed myself from this secret shame
that plunges its sharp splinter into my heart.
One day I'll be free with my arms open wide,
with my eyes open and unshielded before the sun,
Fear and Memory won't be hiding
crouched in ambush, the better to rip me apart.
One day I'll be free . . . I'll be free, I know it,
with a huge smile that flowers from the heart,
with a huge smile that I don't have today.
And then I won't have the ghost of my shame,
the coward silence that tamps down my Emotion.
Someday I'll have achieved the truth of my Self!

A list not to forget to say

purple flowers, red fuzzy buds
Originally uploaded by Liz Henry.

I have a backup of posts I want to write here:

– the Main Gallery reading in Redwood City

– the benefit at Varnish; Shauna Rogan’s excellent Babylon book; rambling about such cut-up projects and what makes them good or bad in my eyes; playfulness and seriousness (good) pretentious and meaningless-for-experimentalness’ sake (bad)

– César Vallejo “Marcha Nupcial / Wedding March” broadside/booklet from Backwoods Broadsides, which looks like a wonderful series. I want them all!

– my own reading coming up at the Overpass Gallery.

– the fun of being on the radio the other day

– Poetry I’ve been reading: Bullets & Butterflies book. Imaginary Poets from Tupelo Press. Nightingale’s Burden. Gabriela Mistral. Another wildly sexist anthology.

– That airplane poem by Maria Sabas Aloma and why it charms me; airplanes in women’s poetry in the 19-teens and 1920s; vehicles; unmapped space; do women write poetry to their cars? (I have – to my truck & sort of in general)