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Blending biography, literary analysis, and cultural history, Uncivil Wars reveals a new understanding of the works of Elena Garro and Octavio Paz, placing these iconic writers in the context of the revolutions—military, social, and feminist—that shaped their lives.

Octavio Paz (México, 1914-1998) was one of the foremost poets and essayists of the twentieth century. Read in translations into many of the world’s languages, Paz received numerous awards and prizes during his lifetime, participated in major artistic and political movements of the twentieth century, served as Mexico’s ambassador in India (1962-1968), and was the editor of Plural and Vuelta, two literary journals of prominent influence in Mexico, Latin America, and Spain. In 1990 Paz was award.

Born in Mexico City in 1914, writer, poet, and diplomat Octavio Paz won the Nobel Prize for Literature in 1990, eight years before his death in 1998. The Writing in the Stars explores Paz's life and ideas by establishing a dialogue between the structure and recurring images of his major poems and the ideas of Carl Jung. Although other literary critics have pointed to Jungian concepts in Paz, a comprehensive study on the subject has yet to be undertaken. Rodney Williamson takes up this challenge, adopting a Jungian perspective to explore successive phases of Paz's poetry. Williamson illustrates how archetypal images infuse Paz's early poetry and his surrealist period and shows how the circular structure of Paz's longer poems, such as 'Piedra de sol' and 'Blanco,' are based on the Eastern sacred circle or mandala, a major archetype of psychic wholeness in Jung. He argues that a grasp of the psychological importance of Jung's archetypes is essential to understanding the various syntheses of creative truth and existence sought by Paz at different defining moments of his career as a poet. The Writing in the Stars will prove fascinating to anyone interested in Latin-American literature, Jungian psychology, or critical theory.

The meanings of passage are so many. Most often, they reflect ways of inscribing ourselves in time and space. And since time and space are in constant flux, adapting to the very idea of passage eventually leads us to a wisdom that accommodates metamorphosis, ephemerality and incompleteness. Passages force us to interact. It is precisely this kind of transversal thinking, which defies the idea of fixity, that we will be reflecting on. Under the aegis of Walter Benjamin, the man of the Parisian passages , we'll begin by asking what happens to the word passage in the passage of languages, more specifically, between French, German and Italian. This philological reflection will then lead us to specifically geocritical considerations, aimed at including the examination of representations of human spaces in a dynamic perspective, a flow, a passage. It should be noted that immobility is more a feature of the political construction of places than of the literary perception of spaces . As it is difficult to sum up in a few formulas the different meanings of passage that populate this research, I will confine myself to three occurrences of the term, all of which imply mobility: transgressivity, multifocalization and interdisciplinarity .

The undisputed intellectual leadership of Octavio Paz, not only in Mexico but throughout Spanish America, rests on achievements in the essay and in poetry. In the field of the essay, he is the author of more than twenty-five books on subjects whose diversity -- esthetics, politics, surrealist art, the Mexican character, cultural anthropology, and Eastern philosophy, to cite only a few -- is dazzling. In poetry, his creativity has increased in vigor over more than fifty years as he has explored the numerous possibilities open to Hispanic poets from many different sources. The bridge that joins the halves of his writing is a concern for language in general and for the poetic process in particular. Toward Octavio Pazdefines this process of creation through a close examination of the books that represent the summit of the poet's development, three long poems and three collections. It is intended for readers of varied poetic experience who are approaching Paz's work for the first time. By studying the relationship of the parts of the poem, particularly structure and theme, Fein traces the poet's growth through approaches to the reader, each embodied in a separate work. From the divided circularity of Piedra de sol through the intensification of the subject ofSalamandra, the multiple meanings ofBlanco, the polarities ofLadera este, and the literary solipsism ofPasado en claro, to the silences ofVuelta, Paz has shaped his audience's responses to his work through suggestion rather than control. The result is not only a new poetry but a new receptivity.

Pienso que la palabra aislada es como el pez fuera del agua. La palabra es un haz de relaciones y tal vez la tarea crítica sea en principio la de fjar esas relaciones y comunicárselas al lector. El asunto es que la poesía y la política se han servido de las grandes imágenes religiosas para cons-truir sus metáforas y su praxis social, respectivamente. Como las palabras no habitan en el vacío, ni caen en él, sino, como dije, son un haz de relaciones, la palabra ceniza se vincula, dentro del marco de la conciencia moderna, con el horror del Holocausto y de Hiroshima. Hay un peligro para quien utiliza una palabra tan culpable y muchos poetas lo saben, aunque algunos, como Pier Paolo Pasolini, se declaren en forma desafante poeta de las cenizas.

One hundred years after his birth, Nobel laureate Octavio Paz is considered one of the most important thinkers of Mexican identity, one of the most influential Mexican poets, and one of the main representatives of a national cosmopolitanism. Most readings of his work, whether critical or laudatory, operate within these parameters. Through a careful analysis of Latin Americanist discourses on identity and difference, Heterogeneity of Being goes beyond the standard interpretations of Octavio Paz as a thinker of national identity and proposes a radical rethinking of the rift and the bond between literature and philosophy. It puts forth the key concept of \"dif/herencia\"—a difference, a wound, an inheritance, a burden and a dispossession—and reads it through the notion of similitude in order to show that Paz's \"tradition of rupture\" properly displays a continuity between self and other, identity and difference, time and space. The work of Octavio Paz yields invaluable insights for the fields of literary theory, cultural studies, history of science, and art history.

Bu yazıda Hayati Baki’nin “ev: yalnızlık senfonisi” ile Octavio Paz’ın “Toz Bulutu Sözcükler” başlıklı şiirleri yaratıcı yalnızlık bağlamında irdelenerek karşılaştırılmaya çalışılmıştır. Baki’nin ve Paz’ın şiirlerinin ortak paydası ev ve yalnızlıktır. Octavio Paz’ın “Toz Bulutu Sözcükler” ve Hayati Baki’nin “ev: yalnızlık senfonisi” adlı şiirlerinin ortak izleği yalnızlıktır. Onlar yalnızlıklarını şiirlerini meydana getirmek için bir güce dönüştürürler. Bu nedenle her iki şairin yalnızlığı da yaratıcı yalnızlıktır. Yalnızlığın yaşandığı yer evdir. Theodor Reik’e göre evin bilinçdışı anlamı “rahim”dir. Başka bir deyişle ev, kadını işaret eder. Ne var ki Otto Rank, zaman içerisinde ev simgesinin koruyucu kadından yaratıcı egoya dönüştüğünü belirtir. Hayati Baki’nin şiirinin biçimi simetrik, Octavio Paz’ın şiirinin biçimi hareketlidir. Yer, iki şiirde de evdir. Bu ev şiirin ortaya çıktığı yerdir. Ne var ki Baki’de şair, Paz’da şiir, öne çıkar. Paz’da pencere dışarıya kapalıyken, Baki’de açıktır. Açık olan davetkârdır. Paz’ın şiirinde yalnızlık sezdirilirken, Baki’nin şiirinde altı çizilerek belirginleştirilir. Her iki şairde de içsel yalnızlık söz konusudur. Paz yalnızlık bağlamında şiir oluşum sürecini dile getirirken, Baki şiir yazmak için yalnızlığın gerekliliğine ve önemine dikkat çeker. Paz’ın şiirinde yalnızlıkta kadının rolü yokken, Baki’nin şiirinde kadının önemli bir rolü vardır. Şiirde farklılıkların yanı sıra ortaklıklar bulunmaktadır: Şiirlerin ortak sözcükleri ev, pencere, rüzgâr ve tozdur. Her iki şiirde de evde şairden başka kimseye rastlanmaz. Ev yaratıcı egoyu temsil eder. Evin dört yanını saran yalnızlıksa Baki’ye de, Paz’a da düş olanağı sunarak onları şiire götürür.