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J ctv6jmxk4 9
J ctv6jmxk4 9
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Emilio Pacheco
1 Recordemos que en 1971 Octavio Paz realizó un renga con Jacques Rouband,
Ecloardo Sanguineti y Charles Tomlinson, para mostrar la comunidad del lenguaje
poético, no obstante la diversidad de las lenguas. El poema colectivo pondría en en-
tredicho las nociones de autor y propiedad intelectual. Cf. Octavio Paz, Obra poética
ll (1968-1998), ed. del autor, Círculo de Lectores, Barcelona, 1996, pp. 231-283.
2 José Emilio Pacheco (notas y traducciones), Aproximaciones, compilación de
117
Women may have been earlier than men to use the kana for literary
purposes; but by the end of the ninth century the Hiragana, the
subscript associated with writing by women (it was long k.nown as
onnade, or"woman's hand") was also being used by men. 4
3 Kenneth Rexroth asienta: "The great age of women writers, which took place
after the capital have been established at Ky0to and was certainly the greatest period
of women writers in the history of any literature, owed much to Hiragana", en su
traducción y edición hecha con Ikuko Atsumi, Wómen poets o/fapan, 8ª reimpr.,
New Direction Book, New York, 1982, p. 163.
4 Donald Keene, Seeds in the heart. fapanese literature from earliest times to the
late sixteenth century, Henry Holt and Company, New York, 1993, p. 219.
Company ofTuttle Company of Rutland, Vermont and Tokyo, Japan, 1995, p. 11.
º
1 Carlos Rubio, ed., Kokinshuu. Cokcdón de poemas japoneses antiguos y mo-
dernos. El canon del clasicismo, selec., trad., introd. y notas de C. Rubio, ed. bilingüe,
Hiperion, Madrid, 2005, p. 24.
11 C. Rubio, op. dt., p. 81.
empezó cuando Fernando de Alva Ixtlixóxitl tradujo en liras frayluisinas los poemas
NADIE SABE
SACRIFICAL VICTIM
Pacheco elige los tres últimos versos y deja de lado los dos
iniciales para concentrar la imagen a la manera de un haikú:
ENMI MANO
un pájaro agoniza
como una hoja caída.
¿Hay atajos
para alcanzarte,
luna de verano?
A MANERA DE CONCLUSIÓN