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Latin American Literature at NCC: This page was created to assist students enrolled in NCC’s ENGL2

The Art of Latin America 05/12/2024

Roberto Montenegro (Mexican, 1885-1968)
Portrait of Jean Cocteau (1945)
Oil on Masonite, 74.9 x 80 cm.
Private Collection

Jean Cocteau (1889–1963) was a French poet, playwright, novelist, designer, filmmaker, visual artist and critic. Cocteau's later years is mostly associated with his films. Cocteau's films, most of which he both wrote and directed, were particularly important in introducing the avant-garde into French cinema and influenced to a certain degree the upcoming French New Wave genre.

05/10/2024

from The End of the Game by Julio Cortazar.
Julio Cortazar, "Axolotl"

There was a time when I thought a great deal about the axolotls. I went to see them in the aquarium at tbe Jardin des Plantes and stayed for hours watching them, observing their immobility, their faint movements. Now I am an axolotl.

I got to them by chance one spring morning when Paris was spreading its peacock tail after a wintry Lent. I was heading down the boulevard Port Royal, then I took Saint-Marcel and L'Hopital and saw green among all that grey and remembered the lions. I was friend of the lions and panthers, but had never gone into the dark, humid building that was the aquarium. I left my bike against the gratings and went to look at the tulips. The lions were sad and ugly and my panther was asleep. I decided on the aquarium, looked obliquely at banal fish until, unexpectedly, I hit it off with the axolotls. I stayed watching them for an hour and left, unable to think of anything else.

In the library at Sainte-Genevieve, I consulted a dictionary and learned that axolotls are the larval stage (provided with gills) of a species of salamander of the genus Ambystoma. That they were Mexican I knew already by looking at them and their little pink Aztec faces and the placard at the top of the tank. I read that specimens of them had been found in Africa capable of living on dry land during the periods of drought, and continuing their life under water when the rainy season came. I found their Spanish name, ajolote, and the mention that they were edible, and that their oil was used (no longer used, it said ) like cod liver oil.

I didn't care to look up any of the specialized works, but the next day I went back to the Jardin des Plantes. I began to go every morning, morning and afternoon some days. The aquarium guard smiled perplexedly taking my ticket. I would lean up against the iron bar in front of the tanks and set to watching them. There's nothing strange in this, because after the first minute I knew that we were linked, that something infinitely lost and distant kept pulling us together. It had been enough to detain me that first morning in front of the sheet of glass where some bubbles rose through the water. The axolotls huddled on the wretched narrow (only I can know how narrow and wretched) floor of moss and stone in the tank. There were nine specimens, and the majority pressed their heads against the glass, looking with their eyes of gold at whoever came near them. Disconcerted, almost ashamed, I felt it a lewdness to be peering at these silent and immobile figures heaped at the bottom of the tank. Mentally I isolated one, situated on the right and somewhat apart from the others, to study it better. I saw a rosy little body, translucent (I thought of those Chinese figurines of milky glass), looking like a small lizard about six inches long, ending in a fish's tail of extraordinary delicacy, the most sensitive part of our body. Along the back ran a transparent fin which joined with the tail, but what obsessed me was the feet, of the slenderest nicety, ending in tiny fingers with minutely human nails. And then I discovered its eyes, its face. Inexpressive features, with no other trait save the eyes, two orifices, like brooches, wholly of transparent gold, lacking any life but looking, letting themselves be pe*****ted by my look, which seemed to travel past the golden level and lose itself in a diaphanous interior mystery. A very slender black halo ringed the eye and etched it onto the pink flesh, onto the rose stone of the head, vaguely triangular, but with curved and triangular sides which gave it a total likeness to a statuette corroded by time. The mouth was masked by the triangular plane of the face, its considerable size would be guessed only in profile; in front a delicate crevice barely slit the lifeless stone. On both sides of the head where the ears should have been, there grew three tiny sprigs, red as coral, a vegetal outgrowth, the gills, I suppose. And they were the only thing quick about it; every ten or fifteen seconds the sprigs pricked up stiffly and again subsided. Once in a while a foot would barely move, I saw the diminutive toes poise mildly on the moss. It's that we don't enjoy moving a lot, and the tank is so cramped barely move in any direction and we're hitting one of the others with our tail or our head --difficulties arise, fights, tiredness. The time feels like it's less if we stay quietly.

It was their quietness that made me lean toward them fascinated the first time I saw the axolotls. Obscurely I seemed to understand their secret will, to abolish space and time with an indifferent immobility. I knew better later; the gill contraction, the tentative reckoning of the delicate feet on the stones, the abrupt swimming (some of them swim with a simple undulation of the body) proved to me that they were capable of escaping that mineral lethargy in which they spent whole hours. Above all else, their eyes obsessed me. In the standing tanks on either side of them, different fishes showed me the simple stupidity of their handsome eyes so similar to our own. The eyes of the axolotls spoke to me of the presence of a different life, of another way of seeing. Gluing my face to the glass (the guard would cough fussily once in a while), I tried to see better those diminutive golden points, that entrance to the infinitely slow and remote world of these rosy creatures. It was useless to tap with one finger on the glass directly in front of their faces; they never gave the least reaction. The golden eyes continued burning with their soft, terrible light; they continued looking at me from an unfathomable depth which made me dizzy.

And nevertheless they were close. I knew it before this, before being an axolotl. I learned it the day I came near them for the first time. The anthropomorphic features of a monkey reveal the reverse of what most people believe, the distance that is traveled from them to us. The absolute lack of similarity between axolotls and human beings proved to me that my recognition was valid, that I was not propping myself up with easy analogies. Only the little hands . . . But an eft, the common newt, has such hands also, and we are not at all alike. I think it was the axolotls' heads, that triangular pink shape with the tiny eyes of gold. That looked and knew. That laid the claim. They were not animals.

It would seem easy, almost obvious, to fall into mythology. I began seeing in the axolotls a metamorphosis which did not succeed in revoking a mysterious humanity. I imagined them aware, slaves of their bodies, condemned infinitely to the silence of the abyss, to a hopeless meditation. Their blind gaze, the diminutive gold disc without expression and nonetheless terribly shining, went through me like a message: "Save us, save us." I caught myself mumbling words of advice, conveying childish hopes. They continued to look at me, immobile; from time to time the rosy branches of the gills stiffened. In that in¬stant I felt a muted pain; perhaps they were seeing me, attracting my strength to pe*****te into the impenetrable thing of their lives. They were not human beings, but I had found in no animal such a profound relation with myself. The axolotls were like witnesses of something, ¬and at times like horrible judges. I felt ignoble in front of them; there was such a terrifying purity in those transpar¬ent eyes. They were larvas, but larva means disguise and also phantom. Behind those Aztec faces, without expression but of an implacable cruelty, what semblance was awaiting its hour?

I was afraid of them. I think that had it not been for feeling the proximity of other visitors and the guard, I would not have been bold enough to remain alone with them. "You eat them alive with your eyes, hey," the guard said, laughing; he likely thought I was a little cracked. What he didn't notice was that it was they devouring me slowly with their eyes, in a cannibalism of gold. At any distance from the aquarium, I had only to think of them, it was as though I were being affected from a distance. It got to the point that I was going every day, and at night I thought of them immobile in the darkness, slowly putting a hand out which immediately encountered another. Perhaps their eyes could see in the dead of night, and for them the day continued indefinitely. The eyes of axolotls have no lids. I know now that there was nothing strange, that that had to occur. Leaning over in front of the tank each morning, the recognition was greater. They were suffering, every fiber of my body reached toward that stifled pain, that stiff torment at the bottom of the tank. They were lying in wait for something, a remote dominion destroyed, an age of liberty when the world had been that of the axolotls. Not possible that such a terrible expression which was attaining the overthrow of that forced blankness on their stone faces should carry any message other than one of pain, proof of that eternal sentence, of that liquid hell they were undergoing. Hopelessly, I wanted to prove to myself that my own sensibility was projecting a nonexistent consciousness upon the axolotl. They and I knew. So there was nothing strange in what happened. My face was pressed against the glass of the aquarium, my eyes were attempting once more to pe*****te the mystery of those eyes of gold without iris, without pupil. I saw from very close up the face of an axolotl immobile next to the glass. No transition and no surprise, I saw my face against the glass, I saw it on the outside of the tank, I saw it on the other side of the glass. Then my face drew back and I understood.

Only one thing was strange: to go on thinking as usual, to know. To realize that was, for the first moment, like the horror of a man buried alive awaking to his fate. Outside, my face came close to the glass again, I saw my mouth, the lips compressed with the effort of understanding the axolotls. I was an axolotl and now I knew instantly that no understanding was possible. He was outside the aquarium, his thinking was a thinking outside the tank. Recognizing him, being him himself, I was an axolotl and in my world. The horror began -- I learned in the same moment of believing myself prisoner in the body of an axolotl, metamorphosed into him with my human mind intact, buried alive in an axobtl, condemned to move lucidly among unconscious creatures. But that stopped when a foot just grazed my face, when I moved just a little to one side and saw an axolotl next to me who was looking at me, and understood that he knew also, no communication possible, but very clearly. Or I was also in him, or all of us were thinking humanlike, incapable of expression, limited to the golden splendor of our eyes looking at the face of the man pressed against the aquarium.

He returned many times, but he comes less often now. Weeks pass without his showing up. I saw him yesterday, he looked at me for a long time and left briskly. It seemed to me that he was not so much interested in us any more, that he was coming out of habit. Since the only thing I do is think, I could think about him a lot. It occurs to me that at the beginning we continued to communicate, that he felt more than ever one with the mystery which was claiming him. But the bridges were broken between him and me, because what was his obsession is now an axolotl, alien to his human life. I think that at the beginning I was capable of returning to him in a certain wayѡh, only in a certain way-- and of keeping awake his desire to know us better. I am an axolotl for good now, and if I think like a man it's only because every axolotl thinks like a man inside his rosy stone semblance. I believe that all this succeeded in communicating something to him in those first days, when I was still he. And in this final solitude to which he no longer comes, I console myself by thinking that perhaps he is going to write a story about us, that, believing he's making up a story, he's going to write all this about axolotls.

05/10/2024

And of Clay We are Created
Literature Worksheet

Title: And of Clay Are We Created Author: Isabel Allende
Year of Publication: 1989
Genre/Sub-genre: Short Story, Natural Disaster, Self-Discovery
Language Style: lamenting, painfully descriptive, narrative
Tone: Intense, sad, grieving, sorrowful, optimistic, irony (he tried to console her but she ended up consoling him)
Place/Setting: at the site of a volcanic eruption (a town, based off of the Armero Tragedy in Tolima, Colombia in 1985), in the narrator’s home
Social Class: middle/low= people in eruption, middle/higher= Rolf and Narrator
Time Frame: 3 days, 2 nights (330)
Characters
Azucena: a thirteen-year-old girl caught in the eruption; “her dark face, her large desolate eyes, the plastered down tangle of her hair” (321), humble (325), "she had never been outside her village" (323).
Rolf Carle: a reporter, saves Azucena along with other reporters and cameramen, “he smiled at her with that smile that crinkles around his eyes and makes him look like a little boy” (321), has a calm voice (321), “he took excessive risks as an exercise of courage, training by day to conquer the monsters that tormented him at night” (328)- about his bad past, had a sister named Katharina (328),

Narrator: wife/significant other of Rolf, compassionate, observed Rolf throughout the ordeal

Katharina: Rolf's sister, considered mentally re****ed by her family; deceased

Ambiance: desperate, helpless

Themes/Motifs
disaster: “in the midst of a bedlam of lost children, wounded survivors, corpses, and devastation: (320-321), Azucena = Rolf/Rolf's childhood; mud, flower (lily/Azucena), compassion, self-discovery, love (between Rolf and his lover, and Rolf and Azucena)

Proper Nouns
First Communion name, National Television, the President of the Republic, Armed Forces, National Petroleum p324, Europe and Russians p327; Katharina (Rolf's sister) (328), North American ambassador (324), Army (326), Austrian (327), Wednesday, November, Virgin

Senses
Smell:
“in that vast cemetery where the odor of death was already attracting vultures from far away” (319), “one could begin to smell the stench of corpses” (321), "with aromas of cooking, garlic, soup..." P328, "the unexpected odor of putrescent clay" (328)

Sight:
“. . . you sit long hours before the window, staring at the mountains (331).” "We watched on our screens the footage captured by his assistant's camera" (320), "I watched Rolf Carlé and the girl on a television screen" (324), "I watched that hell on the first morning broadcast" 325)

Sound: “where the weeping of orphans and wails of the injured filled the air” (319)

touch/feel: "shaking with cold" p327

Symbolic Images / Symbolic Elements
Clay, white tablecloth p328
fire + earth= the eruption: “they had predicted that the heat of the eruption could detach the eternal ice from the slopes of the volcano” (319) earth: mud, forests; water: rivers p320, rain/drizzle p326

Oddities
Rolf loved Azucena more than his wife/partner, and his wife wanted to swap places with Azucena. p330

Cultural Elements: coffee, cornmeal, bananas p326, medal of the Virgin p326, mosquito netting p327, plazas, churches, white cotton plantations, cattle pastures (320)

Literary Devices
Simile:
“like a black squash” (319), “like waves of foam” (319), “like the tales of frightened old women” (320), “as murky as the mud” (321), " and makes him look like a little boy" p322, " like a life buoy" p322, "like a cornered animal" p328, " floating on the air like a flag" (338), " like a fortune teller to her crystal ball" p330, "the mud was like quick sand around her" (321).

Personification:
“deaf to the moaning of earth” (320) -hyperbole? Since its exaggerated, “a subterranean sob rocked the cotton fields” (319), “the mountain had awakened again” (319), " The sky is weeping" p326

“Fear seemed never to touch him" (321), ". . . who had removed his belt and was whipping it in the air with the never forgotten hiss of a viper coiled to strike" p328

Hyperbole: "when a prolonged roar announced the end of the world" p320, "the naked bodies piled like a mountain of firewood" p327, "with the never forgotten hiss of a viper coiled to strike" p328

Metaphor:
"together they flew above the vast swamp of corruption and laments" (330), “a flower in the mud” (331)
“He reverted to the years when he was the age of Azucena, and younger, and, like her, found himself in trapped in a pit without escape, buried in life, his head barely above ground” (327)

Allusion: “. . . he distracted her with the stories I had told him in a thousand and one nights beneath the white mosquito netting of our bed (326-327).” (Reference to 1001 Arabian Nights)

Intriguing Quote
“she was also held by the bodies of her brothers and sisters clinging to her legs” (321), “it was a claw sunk in his throat” (328); " her tone was humble, as if apologizing for all the fuss." P325; " at last he could weep for her death and for the guilt of having abandoned her" p328; “The pictures we were receiving were not his assistant's but those of other reporters who had appropriated Azucena, bestowing on her the pathetic responsibility of embodying the horror of what had happened in that place." p325-326. "When I knew hi better, I came to realize that this fictive distance seemed to protect him from his own emotions" (321), " She sank slowly, a flower in the mud" (331), “Beside you, I wait for you to complete the voyage into yourself” (321), “how together they flew above the vast swamp of corruption and laments” (330)

Foreign or Unfamiliar Terms

Dictionary Work
Obstinately: firmly or stubbornly adhering to one's purpose, opinion, etc.; not yielding to argument, persuasion, or entreaty.
Telluric: of the earth as a planet, of the soil
Viscous: having a thick, sticky consistency between solid and liquid; having a high viscosity.
Equanimity: mental calmness, composure, and evenness of temper, especially in a difficult situation.
Mire: a stretch of swampy or boggy ground p320
Presentiment: an intuitive feeling about the future, especially one of foreboding. (320)
morass: an area of muddy or boggy ground. (320)
fictive: creating or created by imagination. (321)

Photos from Engl250g at NCC's post 05/09/2024

Story: Two Dollars Worth of Water

12/19/2023

The Influence of Spanish on U.S. English
by Susan K. Herman

Each year, from September 15th to October 15th, we celebrate National Hispanic Heritage Month. The month recognizes the cultures, histories, languages, and contributions of those whose ancestors came from Spain, Mexico, Latin America, and the Caribbean.
Let’s take a look at how Spanish has influenced the English we speak in the U.S. Some of these influences may seem obvious, but some you may never have thought about.
Spanish is one of the major Romance languages, or those derived from Latin. It is spoken by 559 million people across the world, 460 million of whom are native speakers, meaning Spanish is their first language. Of all the world’s languages, Spanish has the second largest number of native speakers, behind only Mandarin Chinese. So it is only natural that Spanish influence can be heard in many languages all over the world, especially English.
This influence is particularly evident in U.S. English because of the colonization of large parts of the Americas from the late 15th to early 19th centuries. During the 1800s, as the colonizers moved westward, much of the land belonging to Mexico—namely, Arizona, New Mexico, Colorado, California, Nevada, and Utah—became part of the U.S. Naturally, these settlers began to “borrow” words from the Spanish that was spoken there. With the Spanish-American War of 1898 and Puerto Rico becoming a U.S. territory in 1917, even more Spanish words found their way into the English spoken in the U.S.
Today in the U.S., 13% of people speak Spanish at home, making it the most common language spoken besides English. In fact, the U.S. has the second largest number of Spanish speakers in the world, behind only Mexico.
Let’s talk about how Spanish has influenced U.S. English. The most common way is through “borrowing” words. The many words “borrowed” from Spanish can be divided into a handful of categories.
Most of us recognize words for Mexican food and drink, including:
* “chorizo,”
* “taco,”
* “enchilada,”
* “chalupa,”
* “tequila,”
* “margarita,”
* “daiquiri,” and
* “mimosa.”
(Why am I hungry all of a sudden?)
The U.S. also has many Spanish place names, like:
* “Arizona,” meaning “arid zone” in Spanish;
* “Colorado,” meaning “red,” for the red mountains found there;
* “Nevada,” meaning “snow-covered”;
* “Los Angeles,” meaning “angels”;
* “Santa Barbara,” or “St. Barbara”;
* “San Antonio,” or “St. Anthony”;
* “El Paso,” meaning “pass” or “passage”; and
* “Albuquerque,” after a town in Spain.
There are also lots of miscellaneous Spanish words, many of which came from the settlers’ new life in the U.S. Southwest:
* “plaza,”
* “patio,”
* “rancho,”
* “conquistador,”
* “cafeteria,”
* “pronto,”
* “siesta,”
* “adobe,”
* “vigilante,”
* “macho,”
* “fiesta,”
* “piñata,”
* “rodeo,”
* “burro,” and
* “mosquito.”
Some other borrowed words you may not be as familiar with are:
* “derecho”—literally meaning “straight,” referring to severe winds and thunderstorms that cause straight-line damage;
* “El Niño” and ”La Niña”—literally “little boy” and “little girl,” referring to warm and cool phases of a recurring climate pattern across the tropical Pacific;
* “guerrilla”—meaning literally “little war,” referring to a person who carries out irregular warfare;
* “incommunicado”—from “incomunicado,” with one “M,” referring to being out of communication or out of touch;
* “junta”—from “juntar” (meaning “to join”), referring to a council or committee for political or governmental purposes;
* “aficionado”—from “afición” (meaning “affection”), referring to a fervent fan or devotee;
* “bodega”—originally a storehouse for wine, referring to a usually small grocery store in an urban, Hispanic, area;
* “quinceañera”—from “quince” (meaning "15”), referring to a celebration for a girl turning 15; and
* “desperado”—from “desesperado” (meaning "desperate”), referring to a violent or bold criminal, particularly in the Wild West).
Next, the Spanish suffix “-ista,” is used in English to indicate a follower or devotee or something or someone. It is used for nouns and adjectives in Spanish, but almost always for nouns in English, such as:
* “machista,”
* “fashionista,”
* “modernista,” and
* “barista” (And now I want a latte!),
This suffix has also been used to refer to fans of political figures or candidates, like:
* “Fidelista,” a follower of the late Fidel Castro,
* “Putinista,”
* “Trumpista,”
* “Clintonista,”
Finally, some borrowed words have been adapted to English pronunciation and spelling.
Many words that English has borrowed from Spanish originally came from other American Indian languages spoken by native populations who were conquered by the Spanish. One of those languages is Nahuatl, which has been spoken in central Mexico since at least the 7th century. Some of the words borrowed from Spanish via Nahuatl are:
* chocolate,
* tamale,
* chipotle,
* guacamole,
* coyote,
* mesquite,
* chili, and
* tomato.
Spanish has had a heavy influence on the English we speak in the U.S., and it is becoming more and more important to our culture, business, and communication every day. So take the time to learn some Spanish. You probably already know more than you think

03/21/2023
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