IN/FIDELITY
ONE POEM BY CHRISTIAN FORMOSO
Art by eylül doğanay
Translator’s Note
Christian Formoso's poetry situates itself on the immediate borderline between life and death, resurgent history and a shattered present: between the urge to simultaneously hide and reveal the self, while recognizing that what's truly inside us thwarts either agenda. In what writer Miguel Eduardo Bórquez calls "the apex of an inaugural post-dictatorial lyrical tradition," his collection bellezamericana represents a generation of writers who came of age during the Chilean dictatorship and continue to unpack its social and political significance.
In this radically playful sequence, a spontaneous theater arises with Death interrogating figures from Chile's most torturous era. Set against the backdrop of Penn Station, Death speaks in the collective—the choir—while various strongmen of the Pinochet era speak through online comments section monologues. Formoso slips between outright commentary and insidious response in order to question: Who is “being true” to history within these selected voices, as they try to sneak past Death along the subway path? Who gets to excuse himself, his hidden motives and comrades? Who has the right to undermine the others’ protestations? And most of all, who has the resonant last word while their opponent stands there nearly naked, with the proverbial rug pulled out from under the contrived fidelity they purport to hold?
Death, appearing to us through Formoso’s shifting language, at once archaic and rudely blunt, holds both an ancient grudge and ethical judgement: a mirror to both these self-defensive speakers and our own current political world. Where does the truth lie? Who speaks from his heart and at the same time undermines every attempted evasion, to the point of handing a confession to the timeless judge on a platter? How do we not see our own political obfuscations in these poems, where endless contentions of “truth” slide away from our grasp by the minute, even as our language echoes with its own hollow claims?
We are grateful to have had the guidance of both Christian Formoso himself and scholar Andrea Pac as we undertook this translation. As translators, we walk a similar path, seeking to be as true as we can to the medieval format—the Dance of Death—that Formoso cleverly adopts. We aim for a tone that is both contemporary and archaic, keeping the rhymes and halting meter where we could and breaking away from them as necessary. If one is (as Susan Bernofosky writes in In Translation) always in the dilemma of deciding "how much freedom ... is required ... in order to translate in a way that deserves to be thought of as 'faithful,'" that is particularly so in these dialogues, as the interplay works on at least five levels: maintaining the Castilian antiquity of the Iberian "La Danza de la Muerte" with which Formoso is in conversation; locating parallels in English for the Spanish syntax and the rhyme; and speaking with and for these many personalities, where politics is stained with moral defensiveness. What Formoso has accomplished here is the creation of a modern Chilean verse that shares the stage with fifteenth-century Castilian Spanish, speaking across time and thus compelling us to find an English that equalizes the contemporary and historical while embodying a rhythm, from stanza to stanza, that sets the dance in motion. As in so much of Formoso’s work, translation involves conjuring the stage which the speakers inhabit and their particular Chilean political moment. The medium of this poem is thus part of its message, and we seek to place the reader within those constraints, so they too might stand on either side of Death's mirror.
—Terry Hermsen and Sydney Tammarine
One poem
Translated from Spanish by Terry Hermsen and Sydney Tammarine
the choir of commenters from emol.com perform
the dance of death in penn station
choir
as you walk by in promenade beware
dung of the country whatever your estate;
whatever soul refuses will surely lick his fate
even more in the force that rides within my anger.
you've been warned, if you would not save
yourself with obedience, you’ll lose that tinted
curl, and your voice in penitence
so sing out now, and then shut up.
angelo sommaruga – top commenter
first he is not a murderer but a true soldier
who challenged the communists and their terrorism
as for rules you know it’s clear
that every fight against them requires some suspension
so praise to this agent and all those imprisoned
who served their time for defending chile
allende and those other terrorist minions
could not be allowed to seal the deal
choir
you dare not object, sir saint angelo
that into my dance i’ve sequestered your faith.
it shall never protect you, your empty mantle
and your puffed-up cowardice in your poisoned night.
do not think you can hide in your engorged crusade
and your procured portrait offers nothing now
here you will die with your sins hanging out.
dance now, jimenez, in the dung ye have made!
ricardo jimenez – top commentator
those damn and aging communists
so fucking useless they've got no clue
hidden cowards who throw stones at you
but are off in a flash if you tighten the screws.
they’re not worth dick these reds of shit.
and that old woman, who told her to do it?
a bomb up her ass, she ran off and wept
a victim of herself like all those on the left
choir
more tyrant than the tyrant king you followed
though in truth no kingdom of his you shared
for justice itself you barely cared
as every one of your words makes clear.
come before me, i am the true monarch
who will snatch you out and all others most high
step into my dance, court monger despised.
after your soul comes campos, the patriarch.
jaime campos – top commenter
good cops must always act as they do
everyone of course has the right to redress
to gather freely and parade as they choose
but the hate of these dogs is pure cowardice
that old bitch deserved what she got.
the carabineros are the law, they need to crush it out
for these communist dogs respect nothing devout
living only to hate till they whip their cocks off
choir
sir campos, never did i hate you
to any extent you did not deserve;
to slaughter them all was your custom most cruel,
to escape my decree no soul ever dares.
here’s what thy silent compliance won thee
for enjoying the secret injustice you’ve done.
for you set some aside, self servant that ye be.
now come alvaro, ere i choke on this blood.
alvaro brantes – top commenter
it’s the same as with that other dog allende
cursed are those who murder for class
and envy, communist hate that seeks to defend
the lazy, the partiers, the filthy of the flats
when it's all been made clear, they get less
than a twit, so communist their soccer teams
aren’t worth shit, they dwell in total darkness
the swollen joke that holds their brains.
choir
it serves naught to speak with those who should stay quiet
dressed up and down in their filth—forget about dogs, arrive
on horseback to your happy dance, not so glum—
with no more noise, i’ll gladly hold my tongue.
but i’ll tell you in truth, when the time comes around
you’ll take on a figure most other disguised:
beauty turned doglike as in those you despised.
come dance now, statesman, with your new crown!
the statesman – top commenter
if it hadn’t been for our brave military
chile would be like cuba or columbia
strewn with tyranny and grimy guerillas
who kidnap and maim without end or mercy.
hundreds, thousands of guns and weapons
stockpiled there in carrizal. my government
had good reason: we were headed the direction
of civil war. that was never just a story we invented.
choir
statesman friend, remove your sham hat,
enter the dance all suave and at your best,
for howsoever to your brothers you act,
the very self-same shall come to you in that.
your dignity yes according to the text,
to be a good chilean, so to prove and attest:
if badly you ruled, so shall you get.
now your turn, pepe dick, you’re making me sick.
pepe pepito – top commenter
are we then allowed no more speech and freedom?
don’t forget, the majority of our countrymen
asked in their quarters for this intervention.
it was you marxists who injected your venom
here in my country, by forcing election
of leftist judges and their endless tribunals
seeking revenge upon our good generals
who defeated them with force and with reason.
choir
canonical friend, it was not the way
you thought; proffer me thy hand.
the tribunal delegate who came
into your mind will prove far less grand.
i will slip thee a hint that will see thee through:
turn your argument around with a backwards glance
and there in truth will you find your sentence.
come then, good boris, who stands there aloof.
boris marinkovic - top commenter
of course all that crap about human rights
paid off for those who profited
from it, the muggers, the fags, and those marxists
that’s how they made a living: mere drones who slacked
at the cost of us who broke our backs.
profiting from pensions that they never earned
none were exonerated, all were dismissed
for their ineptness, laziness, and ignorance
choir
you bore me, boris, you dance better in silence.
and the others too, whatever law or refusal,
i command thee likewise to hail here at once
and enter my dance with no more excuses.
never will i ever make room for exception
nor other forms of libelous declension;
what you did will be written forever in history
what you didn’t, just the same, in this last lesson.
One poem
By Christian Formoso
coro emol en penn station
coro
al paseo al pasar venit precavidos
en el culo soes de qualquiera estado;
el que non quisiere, a fuerça de lamidos
a fuerça ha de venir en vos su enfado.
el riso que hace poco habéis teñido
y tu voz, los perderéis en penintençia,
si no os quisiereis salvar con diligençia
cantad ahora y callad, vais prevenido.
angelo sommaruga — top commenter
primero no es un asesino es un soldado
que combatió comunismo y terrorismo
como podrás estar interiorizado
toda lucha contra eso tiene un limbo
gracias a este agente y a otros relegados
que cumplen pena por defender a chile
allende y otros terroristas serviles
no pudieron seguir con lo pactado
coro
non vos habledes, sennor angelo santo
que de mi dança tengo tu fe ordenada.
non vos valdrá el cegado manto
lo que no henchiste en tu noche emponzoñada.
non va a aprovechar la gorda cruzada
procurar de retratado sin ver beneficios
aquí moriredes sin fer más bulliçios.
¡dançad, jiménez, en tu bosta planeada!
ricardo jiménez — top commenter
estos añejos comunistas de mierda
son tan cobardes que no tienen idea
escondidos cagones tiran piedras
pero apenas les aprieta aprietan cuéa.
valen callampa coloraos de mierda.
y a la vieja quien la manda andar weveando
una bomba en el culo, anda llorando
y victimizándose siempre la izquierda
coro
más rey que el tirano, al que siempre apoyastes
aunque con él ningún reyno vos compartas
de haber justicia muy poco curastes
segunt es notorio por vuestra palabra.
venit para mí, que yo so monarca
que prenderé a vos, e a otro más alto
llegad a la dança, cortés, en un salto.
en pos de vos venga campos, patriarca.
jaime campos — top commenter
bien carabineros en mi país al actuar
todos tienen derecho a manifestarse
a juntarse libremente a celebrar
pero el odio de estos perros es cobarde
y nadie obliga a esta galla a protestar.
carabineros es la ley, que arremetan
porque los perros comunistas no respetan
viven odiando y nunca dejan de wevear
coro
sennor campos, yo que nunca le odié
en alguna parte injusta que non deba;
de matar a todos costumbre lo he,
de escapar alguno de mí non se atreva.
esto vos ganó vuestra forma queda
por gostar de la injusticia devedada.
poned en recabdo vuestra cruz dorada.
sígase con vos álvaro, antes que más veva.
alvaro brantes — top commenter
igual que el otro perro inmundo de allende
maldito el pueblo que asesina por clase
y envidia, el odio comunista que defiende
al flojo, al farrero, al sucio que nace
comunacho, que aunque le expliquen no entiende
ni una weá, comunista y pa peor
colocolino, viven en el error
y en la mierda que tienen en la mente.
coro
fablar non conviene al que ha de estar quedo
y sucio, dexat lo de perro, a caballo
andad en la dança alegre, muy ledo
sin fazer ruido, ca yo bien me callo.
mas verdad vos digo que, al cantar la hora
seredes tornado de otra figura:
colocolina y perra vuestra hermosura.
¡dançad, estadista, con vuestra corona!
el estadista — top commenter
de no haber sido por el pronunciamiento
chile sería igual a cuba o a colombia
con tiranía o guerrilleros mugrientos
que secuestran y matan sin misericordia.
cientos, miles de fusiles y armamento
se encontraron en carrizal. cuánta razón
tenía mi gobierno: chile iba en dirección
de una guerra civil. eso no era cuento.
coro
estadista amigo, quitad el bonete,
venit a la dança suave e honesto,
ca quien en el mundo sus hermanos mete,
él mesmo le faze venir a todo esto.
vuestra dignidad, segunt dize el testo,
es ser muxo chileno, e daredes cuenta:
si mal las registes, avredes afruenta.
dançad, pepe pito, hablad indigesto.
pepe pepito — top commenter
acaso no existe libertad de expresión?
no olviden, la mayoría, los chilenos
pedían en los cuarteles la intervención.
ustedes los marxistas tienen su veneno
inyectado en mi país, dirigen la elección
de los jueces de izquierda en los tribunales
que solo buscan venganza en los militares
por haberlos vencido con fuerza y con razón.
coro
canónigo amigo, non es el camino
ese que pensades; dad acá la mano.
el tribunal delegado que vino
en la mente de vos ira más liviano.
darvos he un consejo que vos será sano:
tornad vos tu argumento en conciençia
ca sobre vos çierto es dada sentençia.
llegad acá, buen boris, que estades ufano.
boris marinkovic — top commenter
por supuesto que da plata el hueveo
de derechos humanos cuando cobran
los marxistas, los colas, los cogoteros
así se mantienen, zánganos, que roban
a costa de los que nos partimos el cuero.
lucran con pensiones que no han merecido
no hay exonerados, fueron despedidos
por flojos, ignorantes e ineptos.
coro
me aburristeis, boris, bailáis mejor callado.
y a otros de qualquier ley o condiçión,
les mando que vengan muy toste priado
a entrar en mi dança sin escusaçion.
non resçibire jamás exebçión
nin otro libelo nin declinatoria;
lo que fizieron quedare en la historia
lo que no, del mesmo modo, en la lección.
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Christian Formoso (Punta Arenas, 1971) is a Chilean poet. He is the author of Los coros desterrados, Estaciones cercanas al sueño, Puerto de hambre, El cementerio más hermoso de Chile, bellezamericana, and WWM: Walt Whitman Mall. His poetry has been translated to English, French, German, and Greek and appeared in anthologies in Chile and abroad. Among other distinctions, he was awarded the National Council Prize for the Best Book Published in Chile for El cementerio más hermoso de Chile in 2009 and the Pablo Neruda Prize of the Pablo Neruda Foundation in 2010. He teaches Latin American Literature at Universidad de Magallanes and holds an MFA and a PhD in Hispanic Literature and Languages from Stony Brook University.
Uroš Bojanović was born in Teslić, Bosnia, in 1991. He has published four collections of poetry. English translations of his poems have been published or are forthcoming in Asymptote Journal and Exchanges. His original poems have been published in Balkan literary magazines like ARS, Kritična masa, Zarez, Tema, Polja, Strane, Poezije, and Fantom slobode. Additionally, his work was included in an anthology of Balkan poets called Soft Tissue. Bojanović lives in Belgrade, Serbia.
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Terry Hermsen is Professor Emeritus at Otterbein University and has published five collections of his own work (36 Spokes, Child Aloft in Ohio Theatre, The River’s Daughter, A House for Last Year’s Summer, and Tiny Songs). He holds an MFA in Poetry from Goddard College and a PhD from Ohio State in Art Education. He taught in the Writers in the Schools program for the Ohio Arts Council from 1979–2003, visiting schools, prisons, senior centers, and national parks. He was Ohio Poet of the Year in 2009 and has traveled four times to Chile, conducting poetry residencies at four bilingual schools.
Sydney Tammarine’s work has appeared in Ploughshares, Kenyon Review, and other journals. Her essays were selected as Notable in The Best American Essays 2021 and 2024. She holds an MFA in Creative Writing from Hollins University and is Assistant Professor of English, Creative Writing at Davis & Elkins College.