Concert Mikis Theodorákis par La Badinerie

The Canto General :

compositions de Mikis Theodorákis sur des poèmes de Pablo Neruda
(Neruda Requiem Aeternam : paroles et musique de Mikis Theodorákis)

Texte original Heredero de Pablo Neruda, 1950, Fundación Pablo Neruda

Ediciones Cátedra, 1a edición 1990, 12a edición 2009, Madrid
Traduction Claude Couffon
Nrf Éditions Gallimard, 1977

Neruda’s political commitment and his ability to translate the suffering and hopes of his people into poetry made him an iconic figure in Latin American literature.

Theodorakis’ setting of Canto General to music gave a new dimension to Neruda’s work.
The music, with its powerful melodies and imposing choirs, helped to bring the poem to a wider audience, giving it universal appeal.
It amplifies the emotion and power of Neruda’s message, making the poem even more vibrant and accessible.

Algunas bestias
Vegetaciones
Vienen los pájaros
Voy a vivir
Neruda Requiem Aeternam
Los Libertadores
La United Fruit Co
América insurrecta

 

Algunas bestias – Some animals

Era el crepúsculo de la iguana.

Desde la arcoirisada crestería
su lengua como un dardo
se hundía en la verdura,
el hormiguero monacal pisaba
con melodioso pie la selva,
el guanaco fino como el oxígeno
en las anchas alturas pardas
iba calzando botas de oro,
mientras la llama abría cándidos
ojos en la delicadeza
del mundo lleno de rocío.

Los monos trenzaban un hilo
interminablemente erótico
en las riberas de la aurora,
derribando muros de polen
y espantando el vuelo violeta
de las mariposas de Muzo.

Era la noche de los caimanes,
la noche pura y pululante
de hocicos saliendo del légamo,
y de las ciénagas soñolientas
un ruido opaco de armaduras
volvía al origen terrestre.

El jaguar tocaba las hojas
con su ausencia fosforescente,
el puma corre en el ramaje
como el fuego devorador
mientras arden en él los ojos
alcohólicos de la selva.

Los tejones rascan los pies
del río, husmean el nido
cuya delicia palpitante
atacarán con dientes rojos.

Y en el fondo del agua magna,
como el círculo de la tierra,
está la gigante anaconda
cubierta de barros rituales,
devoradora y religiosa.

It was the dusk of the iguana.

From the rainbowed peaks
his tongue like a spear
buried itself in the foliage,
the monk-like column of ants
strode the forest on melodic feet,
the guanaco, light as oxygen,
pranced on the endless heights
in shoes of gold,
while the llama opened
innocent eyes to the radiance
of a world covered with dew.

The monkeys wove a thread
endlessly erotic
on the shores of dawn,
they shook down walls of pollen
and startled a purple flight
of Muzo butterflies.

It was the night of the caimans,
pure and teeming night
of snouts emerging from bogs,
and from the sleepy marshes
a dim clang of scaly armor
returned to its earthly origin.

The jaguar touched the leaves
with his phosphorescent absence
the puma ran in the branches
like devouring fire
while in him burned
the amber eyes of the jungle.

The badgers claw the feet
of the river, they have sensed the nest
the trembling delicacies of which
they will attack with red teeth.

And in the depths of great waters,
like the circle of the earth,
the giant anaconda rests
covered with ritual clay,
voracious and religious.

In 1980, with Maria Farantouri

In Algunas Bestias, Pablo Neruda’s celebrates the wildlife of South America.
Th
is poem, rich in vivid and sometimes brutal descriptions, highlights the diversity and power of nature, while suggesting a deep connection between humans and the animal world. Neruda’s approach is both naturalistic, describing the physical characteristics and behaviours of animals, and symbolic, using beasts to express ideas about freedom, strength, fragility, and the struggle for survival.

This poem offers a striking representation of the Amazon rainforest at dusk.
It depicts the interaction of various creatures, each with distinct characteristics. The iguana’s tongue is darted like a weapon, anteaters walk with rhythmic precision, and the guanaco’s golden hooves leave a trail in the twilight.

The poem evokes a sense of primal energy and the interdependence of life.
Caimans emerge from the depths, armed and ready for the night hunt. The phosphorescent absence of the jaguar and the fiery pursuit of the puma create an atmosphere that is both beautiful and dangerous. The relentless night hunt of the tejones – badgers – highlights the harsh realities of the rainforest ecosystem.

Neruda’s use of imagery and symbolism is particularly striking in this work.
The “círculo de la tierra” alludes to the ancient and mystical significance of the serpent. The “barros rituals” suggest the sacred nature of the anaconda’s role in the ecology of the rainforest.

Compared to Neruda’s other works, this poem shares his concern for the natural world and humanity’s connection to it. However, it stands out for its more explicit celebration of the primitive and wild aspects of the rainforest. The poem reflects the growing environmental awareness of its time, capturing the wonder and amazement inspired by the rich biodiversity of the Amazon rainforest.

Vegetaciones – Plants

A las tierras sin nombres y sin números
bajaba el viento desde otros dominios,
traía la lluvia hilos celestes,
y el dios de los altares impregnados
devolvía las flores y las vidas.

To lands without names, without numbers,
the wind descended from other dominions,
the rain pulled down heavenly filaments
and the god of the anointed altars
granted flowers and life.

En la fertilidad crecía el tiempo.

In this luxuriance time grew.

El jacarandá elevaba espuma
hecha de resplandores transmarinos,
la araucaria de lanzas erizadas
era la magnitud contra la nieve,
el primordial árbol caoba
desde su copa destilaba sangre,
y al Sur de los alerces,
el árbol trueno, el árbol rojo,
el árbol de la espina, el árbol madre,
el ceibo bermellón, el árbol caucho,
eran volumen terrenal, sonido,
eran territoriales existencias.

The jacaranda raised up a froth
of reflected splendor from across the seas,
the bristling lances of the araucarian fir
were magnificence against the snow,
the primeval mahogany
distilled blood from its crown,
and in the South of the larches,
the thunder tree, the red tree,
the thorn tree, the mother tree,
the vermillion ceibo, the rubber tree,
was the sound and shape of the earth,
the spirit of the land.

Un nuevo aroma propagado
llenaba, por los intersticios
de la tierra, las respiraciones
convertidas en humo y fragancia:

el tabaco silvestre alzaba
su rosal de aire imaginario.

Como una lanza terminada en fuego
apareció el maíz, y su estatura
se desgranó y nació de nuevo,
diseminó su harina, tuvo
muertos bajo sus raíces,
y luego, en su cuna, miró
crecer los dioses vegetales.

Arruga y extensión, diseminaba
la semilla del viento
sobre las plumas de la cordillera,
espesa luz de germen y pezones,
aurora ciega amamantada
por los ungüentos terrenales
de la implacable latitud lluviosa,
de las cerradas noches manantiales,
de las cisternas matutinas.

Y aún en las llanuras
como láminas del planeta,
bajo un fresco pueblo de estrellas,
rey de la hierba, el ombú detenía
el aire libre, el vuelo rumoroso
y montaba la pampa sujetándola
con su ramal de riendas y raíces.

A new aroma spread,
filled the interstices
of the earth, breath transformed
to smoke and fragrance:

the wild tobacco raised
its imaginary rose of air.

Like a spear with a fire tip,
the corn appeared and its stature
unravelled, it was reborn
to scatter its flour, it had
deaths beneath its roots,
and then, from its cradle, it watched
the vegetal deities grow.

Wrinkle, expanse: the seed
of the wind scattered
on the feathers of the cordilleras,
heavy clarity of germ and nipples,
blind dawn nursed by
the earthly ointments
of the relentless latitude under the rain,
dark nights, living springs,
morning cisterns.

And in the plains, again,
blades of the planet,
under a fresh population of stars,
the ombu, king of the grass, stopped the air
in freedom, flight in its murmur,
it climbed the pampa and tamed it
with its branchy rope, bridles and roots.

América arboleda,
zarza salvaje entre los mares,
de polo a polo balanceabas,
tesoro verde, tu espesura.

Forested America,
wild bramble between the seas,
from pole to pole you cradled
your green treasure, your foliage.

Germinaba la noche
en ciudades de cáscaras sagradas,
en sonoras maderas,
extensas hojas que cubrían
la piedra germinal, los nacimientos.

Útero verde, americana
sabana seminal, bodega espesa,
una rama nació como una isla,
una hoja fue forma de la espada,
una flor fue relámpago y medusa,
un racimo redondeó su resumen,
una raíz descendió a las tinieblas.

The night germinated
in cities of sacred bark,
in resonant woods,
in large leaves that covered
the germinal stone, the births.

Green womb, American savannah
and seminal, thick cellar,
a branch was born in the image of an island,
a leaf took the shape of a sword,
a flower was lightning and like a jellyfish
a cluster rounded off its summary,
a root descended into darkness.

Vegetaciones is a celebration of nature and the American land.
It describes nature as a living and powerful force, a ‘green treasure’ that contains vital and creative energy. The poem praises wild and lush nature, and establishes a deep connection between nature and American identity.

Nature as a source of life: Neruda uses powerful imagery to describe vegetation as a creative and life-giving force.
He speaks of “plant gods”, “germinating stones”, and “births”.
America as a lush land:
the poem highlights the richness and diversity of American vegetation, describing it as an “grove” and a “green treasure”.

Man and nature: the poem establishes a close connection between man and nature, suggesting that nature is an integral part of American identity and the human experience.

Vegetaciones can be seen as an ode to the American land, celebrating its natural beauty and strength.
The poem calls for the protection of this environment and recognition of its value.
It
 highlights the simple, raw beauty of nature, in contrast to the complexity and violence of the modern world.

In short, Vegetaciones is a poem that celebrates nature as a vital force, a symbol of American identity and a source of inspiration for mankind.

Vienen los pájaros – The birds are coming

Todo era vuelo en nuestra tierra.

Como gotas de sangre y plumas
los cardenales desangraban el amanecer de Anáhuac.

El tucán era una adorable caja de frutas barnizadas,
el colibrí guardó las chispas originales del relámpago
y sus minúsculas hogueras ardían en el aire inmóvil.

All was flight on earth.

Like drops of blood and feathers
the cardinals bled
Anáhuac’s sunrise.


The toucan was a marvelous coffer of shining fruits,
the hummingbird cherished the original sparks of lightning
and its minute flame burned unwavering in the air.

Los ilustres loros llenaban la profundidad del follaje
como lingotes de oro verde recién salidos de la pasta
de los pantanos sumergidos,
y de sus ojos circulares miraba una argolla amarilla,
vieja como los minerales.

Magnificent parrots filled the depth of the foliage
like ingots of green gold newly emerged from the mire
of submerged swamps,
and from out of their circular eyes glared a yellow ring,
as old as minerals.

Todas las águilas del cielo nutrían su estirpe sangrienta
en el azul inhabitado,
y sobre las plumas carnívoras volaba encima del mundo
el cóndor, rey asesino, fraile solitario del cielo,
talismán negro de la nieve, huracán de la cetrería.

All the eagles of the sky nurtured their bloodthirsty kind
in the uninhabited blue,
and above the world on carnivorous feathers
the condor flew, murderer king, solitary monk of the heavens,
ebony talisman of the snow, hunting hurricane.

La ingeniería del hornero hacía del barro fragante
pequeños teatros sonoros donde aparecía cantando.

El atajacaminos iba dando su grito humedecido
a la orilla de los cenotes.

La torcaza araucana hacía ásperos nidos matorrales
donde dejaba el real regalo de sus huevos empavonados.

The ingenious hornero built of fragment mud
the tiny sonorous theatersin which it sang.

The atajacaminos flew by and uttered its humid cry
at the brink of deep pools.

The araucanian dove built her thorny nest in the brambles
from where she offered the regal gift of her iridescent eggs.

La loica del Sur, fragante, dulce carpintera de otoño,
mostraba su pecho estrellado de constelación escarlata,
y el austral chingolo elevaba su flauta recién recogida
de la eternidad del agua.

The starling of the South, fragnant, gentle carpenter of autumn,
displayed her breast starred with scarlet constellations,
and the Antarctic sparrow lifted his flute freshly gathered
from water’s eternity.

Mas, húmedo como un nenúfar
el flamenco abría sus puertas de sonrosada catedral,
y volaba como la aurora,
lejos del bosque bochornoso donde cuelga la pedrería del quetzal,
que de pronto despierta, se mueve, resbala y fulgura y hace volar su brasa virgen.

And, wet as water lily,
the flamingo opened the doors of its pink cathedral,
and flew like the dawn,
far from the stifling rainforest where the quetzal hangs like a jewel
which suddenly awakes, moves, slips and flashes, and lets its virgin embers fly.

Vuela una montaña marina hacia las islas,
una luna des aves que van hacia el Sur,
sobre las islas fermentadas del Perú.

A sea-mountain of birds fly toward the islands,
a moon of birds going South,
over the seething isles of Peru.

Es un rio de sombra,
es un cometa de pequeños corazones innumerables
que oscurecen el sol del mundo
como un astro de cola espesa palpitando hacia el archipiélago.

It is a living flood of shadows,
it is a comet of innumerable tiny hearts

which darken the sun of the world
like a star with a thick tail shimmering toward the archipelago.

Y en el final del iracundo mar, en la lluvia del océano,
surgen las alas del albatros como dos sistemas de sal,
estableciendo en el silencio, entre las rachas torrenciales,
con su espaciosa jerarquía el orden de las soledades.

And at the limits of the irascible sea, in the ocean’s rain,
the wings of the albatros rise like two pillars of salt,
establishing in the silence, between the torrential whirlpools,
with their spacious hierarchy the order of the solitary.

Live From Athens / 1975, with Maria Farantouri

Vienen los pájaros describes a world where flight is omnipresent, where birds of all kinds populate the sky and the earth.
The poem celebrates the beauty and diversity of the avian world, while evoking the strength and power of nature.

The omnipresence of flight: The poem opens with a strong statement: “Everything was flight on our earth”.
This sentence establishes flight as an essential characteristic of the world described by Neruda.

The diversity of birds: Neruda describes with precision and poetry a variety of birds, from cardinals to toucans, hummingbirds to parrots, eagles to condors.
Each bird is described with strong and original imagery, emphasising their individuality and beauty.

Poetic imagery: The poem is full of vivid and colourful images, such as “the scarlet cardinals bled the dawn of Anáhuac” or “the parrots were like ingots of green gold”.
These images contribute to the sensory richness of the poem and the power of its description of the world.

Nature as a source of inspiration: The poem celebrates nature and its power, particularly through the description of the condor, “murderous king, solitary brother of the sky, black talisman of the snow, hurricane of falconry”.
This description highlights the strength and majesty of nature, but also its mystery and danger.

Neruda’s commitment: As is often the case in Canto General, Neruda uses descriptions of nature to express his political and social commitment.
By describing the beauty and power of the world, he calls for the protection of nature and the defense of oppressed peoples.

Voy a vivir – I will live

Yo no voy a morirme.

Salgo ahora
en este día lleno de volcanes
hacia la multitud, hacia la vida.

Aquí dejo arregladas estas cosas
hoy que los pistoleros se pasean
con la cultura occidental en brazos,
con las manos que matan en España
y las horcas que oscilan en Atenas
y la deshonra que gobierna a Chile
y paro de contar.

Aquí me quedo

con palabras y pueblos y caminos
que me esperan de nuevo, y que golpean
con manos consteladas en mi puerta.

I shall not die.

I go out,
in this day full of volcanoes,
to the multitudes, to life.

I leave these things in order behind me
today when the gunmen roam
with “western culture” in their arms,
with the hands that kill in Spain
and the gallows that sway in Athens
and the dishonor that reigns in Chile
and I fall silent.

Here I stay

with words and people and roads
that expect new things of me, and that knock
with starry hands at my door.

Voy a vivir – A cry for life:

The title, “I will live”, is a true act of faith, a powerful affirmation of his will to live and to commit himself.
The poem is written in a context of political and social unrest, particularly in Spain and Chile, where Western culture is associated with violence and oppression.

Neruda rejects death in all its forms, whether physical (the ‘gangsters’ and ‘scaffolds’) or symbolic (passivity and renunciation).
The poem is a declaration of his political commitment, a way of saying that he will not be intimidated by violence and injustice.
The author expresses his love for life, for the world and for his people. He wants to live life to the fullest, despite the difficulties.

The style is simple, accessible, yet powerful, with strong images and striking metaphors.

Voy a vivir is a poem vibrant with life and hope, a testament to the strength of the human spirit in the face of adversity. It is a call to action, to fight for a better world, and to love life in all its forms.

Neruda Requiem

Neruda Requiem Æternam.

Lacrima yá tous zontanous
Amérika skláva
Sklávi óli ilai

Lákrimosa
I soun osternós ilios
Tóra kivermoún náni,
Orfánepse igi.

Neruda Requiem Æternam.

Neruda Requiem Æternam.

Tears for the living
Enslaved America,
Enslaved are the peoples

Lacrimosa (torrent of tears)
You were the last sun
Now the dwarves reign.
The Earth is orphaned.

Neruda Requiem Æternam.

Suffering from prostate cancer, Pablo Neruda died on 23 September 1973 in a clinic in Santiago, Chile.
The dissident communist poet thus passed away twelve days after Augusto Pinochet’s coup d’état.

Following the coup d’état of 11 September 1973 and the assassination of President Allende, he died 10 days after his friend. The thousands of Chileans who accompanied the poet to the cemetery, surrounded and escorted by the secret police and armed soldiers, shouted:
“Camarada Pablo Neruda, Presente!
Ahora y siempre!

The mystery of Pablo Neruda’s death

Disappeared in the early days of Augusto Pinochet’s regime, did the famous Chilean poet really die of cancer or was he murdered by the military? A look back at fifty years of investigation into one of the greatest mysteries of the Chilean dictatorship.

The story. Suffering from prostate cancer, Pablo Neruda died on 23 September 1973 in a clinic in Santiago, Chile. The dissident communist poet disappeared twelve days after Augusto Pinochet’s coup d’état. Coincidence? Many observers at the time refused to believe it.

For them, there is no doubt that Pablo Neruda was assassinated by the military dictatorship a few days before he left for Mexico, where he could have become the face of opposition to the regime. The author retraces the different stages of the investigation: from the analysis of the death certificate to the exhumation of the body and the opening of a judicial inquiry in 2011.

The interest. The investigation delves into the dark hours of the Chilean dictatorship by interviewing key figures of the time, including Pablo Neruda’s former driver, Manuel Araya, who is still alive. He thus bears witness to the man who was his boss, winner of the Nobel Prize for Literature in 1971 and a huge cultural figure in Chile. This book is also proof that, despite several in-depth investigations, Chile continues to encounter numerous difficulties in shedding light on the dark years of its history.

By Marion Torquebiau
Published Dec.7, 2023

Los Libertadores – The Liberators

Aquí viene el árbol, el árbol
de la tormenta, el árbol del pueblo.

De la tierra suben sus héroes
como las hojas por la savia,
y el viento estrella los follajes
de muchedumbre rumorosa,
hasta que cae la semilla
del pan otra vez a la tierra.

Here comes the tree,
the strom tree, the people’s tree.

From the earth its heroes rise
like leaves out of sap,
and the wind scatters the foliage
of murmuring masses
until once again the seed
of bread falls to the ground.

Aquí viene el árbol, el árbol
nutrido por muertos desnudos,
muertos azotados y heridos,
muertos de rostros imposibles,
empalados sobre una lanza,
desmenuzados en la hoguera,
decapitados por el hacha,
descuartizados a caballo,
crucificados en la iglesia.

Here comes the tree,
the tree nourished by naked dead,
whipped and wounded dead,
dead with impossible faces,
impaled on a lance,
consumed on a pyre,
decapitated by axes,
quartered between horses,
crucified in church.

Aquí viene el árbol, el árbol
cuyas raíces están vivas,
sacó salitre del martirio,
sus raíces comieron sangre
y extrajo lágrimas del suelo:

las elevó por sus ramajes,
las repartió en su arquitectura.

Fueron flores invisibles,
a veces, flores enterradas,
otras veces iluminaron
sus pétalos, como planetas.

Here comes the tree,
the tree with living roots,
that sucked saltpeter from martyrdom,
its roots drank blood,
and extracted tears from the ground :

raised them to its branches,
distributed them in its structures.

There were invisible flowers,
at times, buried flowers,
but other times
the petals shone like planets.

Y el hombre recogió en las ramas
las caracolas endurecidas,
las entregó de mano en mano
como magnolias o granadas
y de pronto, abrieron la tierra,
crecieron hasta las estrellas.

And mankind gathered from the branches
the enduring petals,
passed them from hand to hand
like magnolias or pomegranates,
and suddenly the earth opened
and they grew toward the stars.

Éste es el árbol de los libres.

El árbol tierra, el árbol nube,
el árbol pan, el árbol flecha,
el árbol puño, el árbol fuego.

Lo ahoga el agua tormentosa
de nuestra época nocturna,
pero su mástil balancea
el ruedo de su poderío.

This is the tree of the free people.

The tree of earth, the tree of cloud,
the tree of bread, the tree arrows,
the tree of fists, the tree of fire.

It drowns in the stormy waters
of our dark epoch,
but its mast balances
the rolling of its power.

Otras veces, de nuevo caen
las ramas rotas por la cólera
y una ceniza amenazante
cubre su antigua majestad:

así pasó desde otros tiempos,
así salió de la agonía
hasta que una mano secreta,
unos brazos innumerables,
el pueblo, guardó los fragmentos,
escondió troncos invariables,
y sus labios eran las hojas
del inmenso árbol repartido,
diseminado en todas partes,
caminando con sus raíces.

Éste es el árbol, el árbol
del pueblo, de todos los pueblos
de la libertad, de la lucha.

Sometimes its branches fall anew,
broken in rage,
and a menacing ash
covers its ancient majesty:

thus it was in other times,
thus it escaped its agony,
until a secret hand,
innumerable linked arms,
the people, guarded the fragments,
hid the immutable trunks,
and their lips were the leaves
of the immense tree, sundered,
scattered to all parts,
wandering with its roots.

This is the tree,
the tree of the people, of all people,
of freedom, of struggle.

Asómate a su cabellera:
toca sus rayos renovados:

hunde la mano en las usinas
donde su fruto palpitante
propaga su luz cada día.

Levanta esta tierra en tus manos,
participa de este esplendor,
toma tu pan y tu manzana,
tu corazón y tu caballo
y monta guardia en la frontera,
en el límite de sus hojas.

Lean on its mane :
touch its renewed rays :

plunge your hand into its factories
where the pulsating fruit
spread its light every day.

Lift this world in your hands,
participate in this splendor,
take your bread and your apple,
your heart and your horse,
and guard the frontier,
at the limit of these leaves.

Defiende el fin de sus corolas,
comparte las noches hostiles,
vigila el ciclo de la aurora,
respira la altura estrellada,
sosteniendo el árbol, el árbol
que crece en medio de la tierra.

Defend the purpose of the petals,
take part in the hostile nights,
watch the circle of dawn,
breathe the starry heights,
and sustain the tree,
the tree that grows in the middle of the earth.

Los Libertadores reflects Neruda’s political commitment, his solidarity with oppressed peoples and his vision of a Latin America united in its struggle for freedom.
Neruda’s writing combines the beauty of landscapes with the violence of history, tenderness with imprecation, simplicity with vehemence.

Theodorakis, known for his political commitment and his popular Greek music, breathes new life into Los Libertadores by creating an oratorio that highlights the poetic power of the text.
Theodorakis uses an ancient, omnipresent choir to highlight the essence of Neruda’s poems.
The soloists, for their part, clarify the text and emphasise the important themes.

Los Libertadores is an example of the artistic collaboration between Neruda and Theodorakis, where the former’s committed poetry meets the latter’s musical power to create a committed and moving work of art.

La United Fruit Co

Cuando sonó la trompeta, estuvo
todo preparado en la tierra,
y Jehová repartió el mundo
a Coca-Cola Inc., Anaconda,
Ford Motors, y otras entidades

La Compañía Frutera Inc.
se reservó lo más jugoso,
la costa central de mi tierra,
la dulce cintura de América.

Bautizó de nuevo sus tierras
como “Repúblicas Bananas”,
y sobre los muertos dormidos,
sobre los héroes inquietos
que conquistaron la grandeza,
la libertad y las banderas,
estableció la ópera bufa:

enajenó los albedríos
regaló coronas de César,
desenvainó la envidia, atrajo
la dictadora de las moscas:

moscas Trujillos, moscas Tachos,
moscas Carías, moscas Martínez,
moscas Ubico, moscas húmedas
de sangre humilde y mermelada,
moscas borrachas que zumban
sobre las tumbas populares,
moscas de circo, sabias moscas
entendidas en tiranía.

Entre las moscas sanguinarias
la Frutera desembarca,
arrasando el café y las frutas,
en sus barcos que deslizaron
como bandejas el tesoro
de nuestras tierras sumergidas.

Mientras tanto, por los abismos
azucarados de los puertos,
caían indios sepultados
en el vapor de la mañana:

un cuerpo rueda, una cosa
sin nombre, un número caído,
un racimo de fruta muerta
derramada en el pudridero.

When the trumpet sounded
everything was prepared on earth,
and Jehovah gave the world
to Coca-Cola Inc., Anaconda,
Ford Motors, and other corporations.

The United Fruit Company
reserved for itself the most juicy
piece, the central coast of my world,
the delicate waist of America.

It rebaptized these countries
“Banana Republics”,
and over the sleeping dead,
over the unquiet heroes
who won greatness,
liberty, and banners,
it established an opera buffa:

it abolished free will,
gave out imperial crowns,
encouraged envy, attracted
the dictatorship of flies:

Trujillo flies, Tachos flies
Carias flies, Martinez flies,
Ubico flies, flies sticky with
submissive blood and marmalade,
drunken flies that buzz over
the tombs of the people,
circus flies, wise flies
expert at tyranny.

With the bloodthirsty flies
came the Fruit Company,
amassed coffee and fruit
in ships which put to sea like
overloaded trays with the treasures
from our sunken lands.

Meanwhile the Indians fall
into the sugared depths of the
harbors and are buried in the
morning mists;

a corpse rolls, a thing without
name, a discarded number,
a bunch of rotten fruit
thrown on the garbage heap.

In this poem, Neruda condemns the United Fruit Company for its exploitation of Latin America.
He depicts the downside of the banana trade and its consequences for citizens. In doing so, he suggests that the United States exploits the misery and degradation of Latin American peoples through this destructive enterprise.
The United Fruit Company also became the title of the collection in which it was included, published in Mexico in 1950.

In a preface, Neruda writes:

“The explanation and confessions of love, rage and hope contain more serious themes ; their purpose is not to unburden me, but to explore the black, rancid and yet beautiful wound of my mysterious country.”

Compiled at a time of profound change, both internal and external, these poems focus on several more specific facets of the general experience of the conquest of Latin America.
The title suggests a commentary on the invasive role of the United States, generally represented by the United Fruit Company.

The United Fruit Company was first published in 1939 in Neruda’s collection “Twenty Love Poems and a Song of Despair”.
During its existence, the company was heavily involved in Latin American politics, and its actions led some to propose entirely new university courses. The company exerted a strong influence over many Latin American countries and was often accused of political intimidation and government manipulation. Despite these serious allegations, it was never found guilty.
In 1970, Neruda expressed his deep disappointment with the course of past history, as Latin America had accepted capitalist-oriented companies.
Throughout his life, Neruda aspired to change. In his will, he left instructions to transform his house into a kind of sanctuary for artists and to place “elementary books on communism” in the houses of the Isla Negra region. This hope for change, nurtured throughout his life, is probably the reason for his enthusiasm in writing this poem.

The United Fruit Company was an American company in the early 20th century involved in extensive imperialist mechanisation.
It is known for its important role in Central American countries such as Guatemala, Costa Rica, Honduras, Nicaragua, and the Caribbean. The United Fruit Company acquired vast tracts of land in Guatemala to grow tropical fruits for millions of Americans. The most widely grown fruit was the banana.
Its production required a considerable workforce, which led to the displacement of most farmers.
This was followed by the abolition of debt bondage, which forced workers to work to repay a loan or debt without being paid, which was a form of slavery. The United Fruit Company mainly used this type of slavery to force indigenous people to work in the fields. When the company imposed a property tax increase, the Guatemalan people’s anger exploded, which is partly why United Fruit shifted its operations to Costa Rica. It was not until the late 1930s that the Guatemalan government, increasingly exasperated by the depletion of the country’s resources, developed strategies to recover them.
In Costa Rica, the United Fruit Company spent millions of dollars on propaganda and advertising campaigns to raise awareness of the benefits of its presence. At one point, company officials even met with President Figueres to suggest that “due to the global economic crisis, the company should take control of the government”
(Gudger).
The United Fruit Company ultimately suffered a major setback in Costa Rica with the advent of the Latifundia Law.
JW stated: “I believe that the Latifundia Law has done us more harm than any other event in our history in Costa Rica”
(Gudger).
Despite these measures, the United Fruit Company realised that the future of its business was indeed compromised.
It therefore turned to its most valuable asset and the place where its influence was considered to be most profound: Honduras. It was here that United Fruit was able to exasperate the population and the government more than anywhere else, to such an extent that the entire history of the region revolved around the company.

Pablo Neruda was born in 1904 in Parral, Chile. He was well informed about the company’s activities regarding the national sovereignty of Latin American countries, and he was also aware of how the US government intervened to provide temporary, then immediate, “assistance” to companies with interests in Latin America.
Neruda had first-hand experience of imperialism in Ceylon, where he was appointed honorary consul. It was there that he observed how United Fruit and other companies managed to take control of Latin American countries by exploiting their resources and forcing people to work for extremely low wages in order to survive.
This event in Ceylon made Pablo Neruda aware of similar incidents in Latin America and led him to write the poem
The United Fruit Company at the end of his life.

By recounting the experiences of different nations and the tragedies of his people, Pablo Neruda highlights various examples from around the world of the negative influence of fruit companies such as UF on the culture, resources and development of many nations, right up to modern societies.

América insurrecta – Rebellious America

Nuestra tierra, ancha tierra, soledades,
se pobló de rumores, brazos, bocas.

Una callada sílaba iba ardiendo,
congregando la rosa clandestina,
hasta que las praderas trepidaron
cubiertas de metales y galopes.

Our land, our wide land, desolate,
was filled with rumors, arms, mouths.

A silent syllable took fire,
gathered the clandestine rose,
until the prairies shook
covered with metal and hoofbeats.

Fue dura la verdad como un arado.

The truth was hard as a plow.

Rompió la tierra, estableció el deseo,
hundió sus propagandas germinales
y nació en la secreta primavera.

Fue callada su flor, fue rechazada
su reunión de luz, fue combatida
la levadura colectiva, el beso
de las banderas escondidas,
pero surgió rompiendo las paredes,
apartando las cárceles del suelo.

It tore open the earth, established desire,
buried its germinal propaganda
and was born in the secret spring.

Its flower was silenced,
its unions of light were rejected,
the common leaven and the kiss
of the hidden banners were fought,
but they returned and tore down walls,
and swept the prisons from the earth.

El pueblo oscuro fue su copa,
recibió la substancia rechazada,
la propagó en los límites marítimos,
la machacó en morteros indomables.

Y salió con las páginas golpeadas
y con la primavera en el camino.

Hora de ayer, hora de mediodía,
hora de hoy otra vez, hora esperada
entre el minuto muerto y el que nace,
en la erizada edad de la mentira.

The people of the shadows were its chalice,
received the rejected substance,
spread it to the shores of the sea,
ground it in irrepressible mortars.

And they came forth with beaten flanks,
and with spring on the roads.
Yesterday’s hour, midday hour,
today’s hour once again, awaited hour
between the dead minute and the which is born,
in the thorny ear if lies.

Patria, naciste de los leñadores,
de hijos sin bautizar, de carpinteros,
de los que dieron como un ave extraña
una gota de sangre voladora,
y hoy nacerás de nuevo duramente
desde donde el traidor y el carcelero
te creen para siempre sumergida.

Fatherland, born of woodsmen,
of unbaptized sons, of carpenters,
of those who, like a passing bird,
gave a drop of blood in their flight,
today you shall be born again harshly,
from the place where the traitor and the jailor
thought you forever imprisoned.

Hoy nacerás del pueblo como entonces.

Today you shall be born of the people as before.

Hoy saldrás del carbón y del rocío.

Hoy llegarás a sacudir las puertas
con manos maltratadas, con pedazos
de alma sobreviviente, con racimos
de miradas que no extinguió la muerte,

con herramientas hurañas
armadas bajo los harapos.

Today you shall emerge from the coal and the dew.

Today you will come and beat on the doors
with abused hands, with pieces
of souls that have survived,
with clusters of stares that death has not estinguished,
armed with shy tools
beneath their rags.

América insurrecta depicts the struggle of the peoples of Latin America against oppression and injustice, celebrating their thirst for freedom and their resistance.
An analysis of this poem reveals a vibrant call to action, a glorification of popular strength and a denunciation of foreign domination and authoritarian regimes.
The poem is a hymn to revolt, in which the oppressed rise up to break their chains.

The images of “rumours” turning into “gallops” and hidden “flags” emerging to “crack the walls of prisons” illustrate this transformation from passivity to action.
Neruda highlights the power of the people, capable of rising from the ashes, forging a new identity from the “earth”, “coal” and “dew”. He emphasises the importance of popular unity in the struggle for freedom.

Denunciation of oppression: The poem strongly criticises oppression, whether colonial or authoritarian. It denounces the “woodcutters” and “carpenters” who, in the past, contributed to the construction of an oppressive system, but who, today, can also be the architects of a new society.

Neruda uses powerful and vivid language to evoke the struggle and resilience of the Latin American people.
Images of nature (“meadows”, “sea”) contrast with those of violence and repression (“lumberjacks”, “carpenters”).

Rhythm and musicality: The poem has a dynamic, almost incantatory rhythm that invites participation and action.

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