News: Literary South is now a radio show on Resonance 104.4 FM

So exciting to share this!

After 18 months of running as a podcast, we are happy to announce that from September Literary South is a radio show on Resonance 104.4, a radio station I’ve followed and listened to for years. As a podcast there is freedom with how long the episodes are or how frequently you publish them. Yet, to really fulfil our aim of connecting readers from Latin America and Spain with English-speaking readers I believe that being on Resonance 104.4 is going to increase our audience and get more people interested in literature from the region.

Our show is going to be on Resonance 104.4 every fourth Wednesday of the month (repeated the next Thursday) and one hour long.

We have many ideas for future episodes, authors, books that we want to share with you… our listener. So, thank you Resonance 104.4, for celebrating diversity and creativity in your programming.

And by all means, keep listening!

Silvia Rothlisberger

Episode 30: short story writer, poet and singer song-writer Sofia Buchuck

Transcript:

Silvia Rothlisberger: Sofia, you are a poet and a singer-songwriter. What came first the poetry or the music?

Sofia Buchuck: I think music. My grandmother was a Quechuan lady from indigenous background and she used to always sing in the kitchen, in the house, so, from very little age, maybe, I don’t know five, four years old I was already singing for my own entertainment. And then when my dad died, maybe when I was eight years old I started my poetry.

SR: do you remember how this first poem came about?

Sofia Buchuck: Because my dad died and I couldn’t go to the funeral nor my family went and I felt very lonely and I think  it came a lot of feelings altogether that I didn’t know how to express, and the best way for me to express it was by writing poetry. And since then I haven’t stop.

SR: Sofia I noticed that in your music and in your poetry you write in Quechua as well. Tell us a bit about Quechua, about the language and about your connection with it.

Sofia Buchuck: Well, Quechua is not only a language is a culture, it’s a Cosmo vision, is the way how we see everything that surrounds us and we have a different way of thinking, our own philosophy. It also has spirituality, we believe in nature, Mother Moon and Mother Sun, the Mother Earth. It’s a very deep philosophy of life as well. An economy, in a way, because we don’t use money, we work with retribution and I learned the language and the culture from my grandmother, my mother’s mum and then obviously because I lived in Cuzco until I was 12 or 13 years old, I have been involved in the culture from a very early age. And then when I came to London it just emerged naturally because it was already in me. In some of my songs I talk about this cosmo vision, for me is very important as part of my identity and as part of the identity of so many people out there that share this Cosmo vision. Is very present in my singing, is very present in the books and I think is very important to keep it alive because is a living culture.

SR: Your music is going through a path of healing. So why did you go through that change and what is it about?

Sofia Buchuck: I’ve been doing healing for 20 years mainly with Mama Coca, which is a Coca leaf and it’s a sacred ritual where you gather, especially women and with the moonlight and you heal your emotions and music was very much part of that because you know music also in-tunes with your emotions very much. So, from that point of view I was already healing. But this wasn’t public; this was my private thing to do and I was already doing my art separately. It was separate roads.

Then in 2004 when I went to Mexico I started to go more into depth about music and healing, especially with the Huichols. The Huichols in Mexico they use art to heal, mainly painting but also dances. From then on I started to go in depth more into the role of healing and learning more and more. And then all came together I think in 2014 when I go back to Peru for the first time. I started learning more songs about healing. But the songs where mainly with pan pipes, pan flutes, and I thought that people were very attached, especially people who had problems with depression, they feel very attached to the soothing sounds of pan flutes and some other instruments. By now I can say I completely work on both fields. I completely united my healing with the music. So in Peru I was doing lots of ceremonies where I heal people with plants and I sing all through the ceremony or play instruments, sometimes pre-Columbian instruments and here in England too; I’m doing some workshops with singing, healing, workshops with healing.

SR: Your next album Heart Portal to the Cosmos is coming out in July is going to be different from all your past works.

Sofia Buchuck: In a way different, but it has most of the instruments I’ve been using in past albums. I use a lot the guitar, for example the charango, I use pampais, I use flutes. This CD is going to specialize on healing, the songs are for healing, but the instruments are almost the same. We are still using the same instruments and I’m doing two albums: one with Chano Díaz Límaco, who is very well known. He was the director of Killa Raymi my second album. We are using more ocarinas, like clay instruments, singing, maracas; is more tribal in a way. It’s very ethnic. It has very few songs with guitar.

SR: What is the literary collective Hispano-American Women Writers on Memory about?

Sofia Buchuck: This collective of women…well, we were at the beginning four, and then we became six women from different countries, from Chile, I am from Peru, there were some women from Spain, from Mexico. The idea was to share this memory of who we are here in London. Because is so interesting how we build up our identity here in London.

We build, we create our own identity here in London. Because we come from South America with this other identity that is very Peruvian, very Chilean, but here in London we become Latin-Americans. And not only Latin-American, but we also have this Spanish identity that also crosses with other identities; and the English identity, because we’ve been living here, in my case 25 years. So, the memory of who we are, who we become, who we are still, you know? It combines also with some memories of exile, memories of migration which is very interesting as well and memories of home, because home is also England for us, living here for such a long time. Home is also, in my case, Peru.

It was a very interesting… it is a very interesting group of women. Some of them are academics, some of them not, but all of them have very strong ideas, very lovely poems about life in London as well. Which I think is very good to document, to see how Hispano-American people have created this lovely memory of being in London.

SR: Sofía, where and why did you study Ethnomusicology?

Sofia Buchuck: In Mexico at Escuela Nacional de Música at the University of Mexico (UNAM).

I was studying Spanish and Latin-American Studies at the Metropolitan University in London and one of my teachers was Marta Dueñas, a lovely lady from El Salvador, and she knew me very well because I was so passionate about Latin-American studies. I loved the literature, I loved economics and I loved so much Anthropology; Anthropology and Ancestral cultures. I was so passionate about it, and not only about the music, but the history behind the music, the history of the instruments.

And then she said to me: ‘Sofía why don’t you study Ethnomusicology? This would be so good for you.’ And I said ‘What is that?’ And then I did an essay about the music of Tito La Rosa which is a very famous composer in Peru and he does a lot of ritualistic music actually. And I did a research of his music and the silbatos pre-colombinos, which are pre-Columbian, whistles. And then she said: ‘Why don’t you send this to México and apply for a scholarship, maybe you can study there musicology’. And I did! I was awarded a scholarship to study there Ethnomusicology and it was fantastic. I was so grateful to Marta and so grateful to the UNAM as well because they were very generous to me.

SR: And did you introduce what you studied there, what you learned in your poems, in your music or in your short stories?

Sofia Buchuck: Completely; I think it changed my view about everything because before, music was only restricted to ‘oh, yeah, music is to remember this or to remember that or to have an idea about this and that.’ But when you study Ethnomusicology you go deeper than that. You understand the history of music, Latin- American music, where did it start, what is Latin-American music, what is La Nueva Canción, what is ancestral music, what is popular music. You study all of these things in depth. So I had a deeper understanding about music and the new emerging cultures as well, and it really overlapped very well with my other career in oral history. I studied oral history at the Museum of London and it’s very similar to Ethnomusicology because you do a lot of interviewing, and then you allow people to have their own identity. It brought in me ideas, because when you just study Folklore you have this music and it puts people in boxes. But with Oral History and Ethnomusicology you are more open because is like life: We are here, then I am in Peru. You have these crossed identities and that comes in my stories, my poems, even about the time I was in Mexico as well. And I did like ten different albums about Ethnomusicology here in London. I recorded a first album of Latin American musicians in the UK. I recorded young people doing music and their identities in the UK and we did some videos and I worked with the Museum of London collecting the stories of Latin American refugees and we collected their poems, their music, and their stories.

It was a big research, with two lines Oral History and Ethnomusicology, that overlapped very well together. Also, recently last year I was teaching Ethnomusicology in Peru at Universidad Nacional José María Arguedas which is the only university for arts and culture in Lima that does folklore and dance and music.

SR: You are one of the founder members of the literary group Spanish and Latin American Poets and Writers (SLAP). Why did you create this collective and what is it about?

Sofia Buchuck: I knew many poets, obviously after all this time of being here in London. We met at so many places. I knew Isabel del Río for example, who is a very well-known poet, for 25 years. I also knew Eduardo Embry, a very well-known poet from Chile living in Southampton, and so on. And also, I knew emerging poets like Denisse Vargas Bolaños from Bolivia and Soraya Fernandez DF from Ecuador, and so many young poets. And I thought it would be great to create a collective. One day talking with Eduardo he said ‘Why don’t we have a group? It would be so interesting to mix all this poetry, all these different tendencies on poetry, the way we write with different kinds of flavours.’ And then when we got together, we were so many, I think we were like 12. We ended up being I think like 9, but still a big group. Consuelo Rivera-Fuentes is also part of that group, Mabel Encinas, Isabel Ros López. So it was a combined art as well, not only poetry. There were people who do painting, people who do music, like me. Others who do also other things like multimedia art.

And it was a fantastic group. We did a few performances and the idea was to share these mix identities. There were people from different parts of Latin America and people from Spain.

SR: What books do you recommend?

Sofia Buchuck: On poetry: Wonder Makers: Navigators of the Thames the poetry book but also the short stories are really lovely. It’s both in English and Spanish and you can really sense the strong identity they have still about Latin America but also the life in London and how you become a Londoner as well.

Now for understanding poetry I like a lot Sylvia Plath. In Spanish definitely I love Vallejo, it’s my favourite. It’s not an easy poetry but that doesn’t mean that it is not strong and actually one of my teachers of the UCLA, Stephen Hart used to say: ‘To understand Vallejo you have to break the wall.’

But I think for writing poetry is not only learning the technique, is not only learning the language, is a journey as well. It’s a discovery journey. I think it helps when you travel; it helps when you go out of your own boundaries and you see the world with different eyes.

There are great other poets as well like Sandra Cisneros, she writes about identities, about migration. And music is fantastic as well, because music gives you the kick to feel the emotion and then as a poet you can come and write about that. Go out and live the world, live the life, travel, fall in love, fail, win, do everything, and you will write great poetry.

 

 

 

Episode 27: Bookshop stories

 

On episode 27 we decided to do a small homage to bookshops by sharing three bookshop stories:

The first one is a small bookshop and theatre in London called Calder Bookshop & Theatre.

The second one comes from a Cuban musician who discovered a book by Julio Cortazar, in a bookshop in Santiago de Compostela, that would led her to a very ambitious musical project.

The third one is from Spanish author & singer-songwriter Isabel Ros-Lopez who we interviewed on episode 19. Isabel talks about Pepe Negrete’s bookshop during the years of Franco’s dictatorship.

Mentioned in this episode:

Calder Bookshop & Theatre:

Jamila Purofilin

Jamila Purofilin website

Poet and Singer-songwriter Isabel Ros-Lopez

Pepenegrete Bookshop in Malaga

Episode 26: Artist, poet & fiction writer Daniella Valz Gen

Daniella Vals Gen is an artist, poet and fiction writer from Lima, Peru. On this episode Vals Gen shares some of her poetry and talks about her different projects. Including a reading group, and two books she is working on.

Mentioned in this episode:

Daniella Vals Gen website

Poets

Cesar Vallejo

Martin Adan

Jose Maria Eguren

 

Book: Ocean Vuong’s Night Sky with Exit Wounds

 

 

Sound engineer: Oscar Pérez

Music: Raíz by Bomba Stereo downloaded from the Free Music Archive under a Creative Commons license.

 

 

Episode 25: Book club edition – Colonel Lágrimas by Carlos Fonseca

Sound engineer Oscar Pérez

We are 25! And coming of age!!!

In episode 25, author Carlos Fonseca answered questions that readers sent throughout the month about his debut novel Colonel Lágrimas.

Colonel Lagrimas is Loosely based on the fascinating life story of the eccentric mathematician Alexander Grothendieck. Using an experimental narrative, Colonel Lágrimas is a collage of information. A film seen through the lens of a camera that transforms the reader into an active observer.

“Nowadays in our information era there is nothing more false than linearity, we don’t live in a linear world. We live in a place where we gather information from here and there constructing collages, so I wanted to experiment with a novel that processes information in the new ways in which we are accustomed through Twitter, Facebook. Like an information saturated society that picks and chooses almost like a rag-picker.”

Carlos Fonseca

 

Mentioned in this episode:

 

 

 

 

Episode 22: Out of the Wings with co-director Catherine Boyle

Sound engineer: Oscar Pérez.

On this episode we talked to Catherine Boyle, co-director of Out of the Wings about why translations matter (yes, we borrowed the name from Edith Grossman’s book).

“One of the things translation does is, it renews our language. So, if I translate from Spain, from Chile, from Colombia, from Mexico then I’m bringing different perspectives on perhaps ideas that we have here. Problems that we have here. And as I bring those new perspectives I might be bringing new languages and new ways of thinking about the problems we have here or the joys we have here. The ideas we have here.

“Translation is about renewal. We thrive in a world where we share with other communities and other languages and other cultures. That is the way of the world.”

Catherine Boyle
Mentioned in this episode:

Episode 16: Philosophical Toys by Susana Medina

On this episode author Susana Medina answers questions that readers sent through social media about her novel Philosophical Toys.

“Thoughts take up many shapes and one of them is fiction. I think philosophy is intrinsic to fiction as fiction explores ways of being in the world.
In fiction we are dealing with existence, moral or amoral choices, ethics, the limits of self-knowledge. In some sense fiction is philosophy.”

Sound engineer: Oscar Pérez
Photo courtesy of: Paul Louis Archer

Episode 15: Author & Journalist Enrique Zattara

“If I mention Hegel or Kant or Aristoteles, for example, everyone thinks of a philosopher, no doubt! but if I speak about Pascal or Unamuno probably most people do not consider them as philosophers but only as thinkers. Actually, I think that it’s a nonsense. Anyone who devotes a substantial part of their life to reflect about the great mystery of life or the universe, using a complex philosophical system or not, with certification or not, is a philosopher! It’s an attitude of life not only an accumulation of erudition.”
Sound engineer: Oscar Pérez

enrique-zattara-behind-the-scenes-1enrique-zattara-behind-the-scenes-2

Photographer: Brayan López.

 

Episode 11: Night Prayers by Santiago Gamboa

Book Club Edition

In this episode Colombian author Santiago Gamboa answers question readers sent about his acclaimed thriller Night Prayers.

“I’m not the kind of writer who writes about a place when he is in the place. I prefer to distance myself. When I was younger living in Colombia I didn’t write about Colombia. Then, when I moved to Spain I started to write about Colombia. Then, when I moved to France I wrote about Spain. I need a distance from the places.”

Sound engineer: Oscar Pérez.

Episode 3: The Maids of Havana by Pedro Pérez-Sarduy

On Literary South’s third episode, listeners sent questions about The Maids of Havana for the author Pedro Pérez-Sarduy.

The Maids of Havana explores the complexities of race, gender and class in Cuba; it is told from the perspective of Marta, a black single mother from Santa Clara who sees herself forced to leave her children with her sister and move to Havana finding work as a maid for rich white families.

Halfway through the book a new character is introduced: Gracielita, whose mother is a close friend of Marta. Gracielita migrated to the United States through the infamous Mariel boatlift.  Once there, Gracielita hopelessly collides with the social values of North America, particularly racial relations.