Blanco by Octavio Paz
"Blanco" is a unique poetic work by Octavio Paz, notable for its innovative approach to poetry as both a visual and auditory art form. Originally published on a single continuous sheet, the poem employs various typefaces and colors to create a dynamic reading experience. It features a central column of text flanked by two parallel columns, allowing for multiple interpretations and interactions among the words. Paz's work is deeply influenced by Tantric traditions, exploring the relationship between eroticism and poetry. The poem begins with a reflection on the origins and corruption of language, while the central column represents the poet's creative process and connection to language. The dual columns are said to mimic the actions of intimacy, suggesting that the act of writing poetry is akin to making love. Additionally, Paz draws on the ideas of poet Stéphane Mallarmé, emphasizing the physicality of language and its potential for spiritual liberation. Overall, "Blanco" invites readers to engage with language in a profound and multifaceted way, highlighting the interplay between love, creation, and transcendence.
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Blanco by Octavio Paz
Excerpted from an article in Magill’s Survey of World Literature, Revised Edition
First published: 1967 (English translation, 1971)
Type of work: Poem
The Work
In Blanco, Paz experiments with poetry as a visual and oral art form. The poem was first published on one continuous sheet of paper, using various typefaces and two colors of ink. A single column of text alternates with two parallel columns. These in turn are either spaced separately or joined together and are only distinguishable from each other by their contrasting typefaces. Paz arranges the poetic text in such a way that the words are able to interact with each other. On the theory that the poet should not manipulate language, he denies his ego any role in the creative process. Paz applies the Tantric tradition to the poetic text. The words set free on the page, surrounded by space, assume a life of their own. They are erotic objects free to attract, repel, and unite with each other. The use of different columns of text running separately or parallel to each other allows many alternative readings. This one long poem has fourteen texts that can be read separately or in different combinations.
The poem begins with a wordplay about the origins of language before its corruption by history. The text of the single central column deals with the poet’s labor to bring forth poetry. The lamp represents the poet’s alertness. He waits patiently for language to rise into his consciousness. When it does so, the words of the poem flow forth, and the poet dissolves with his mistress in an experience of pure language.
The double column is a love poem. The two columns separate and join together, opening and closing like legs in imitation of Tantric texts. The poet penetrates his beloved. He fertilizes words, and they ascend the stalk that produces the flow of poetry in the central column.
The influences of Mallarmé and Tantric Buddhism are most evident in this long and very complex poem. Blanco likens writing poetry to making love. Paz follows Mallarmé’s position that living language is carnal and that words have flesh like a woman. The graphic layout of the poem and the use of white space between the words encourage the reader to explore the infinite possibilities in words. In Tantric Buddhism, erotic love serves as a means to gain spiritual liberation. In Blanco, erotic love and the inception of poetry are aspects of the same experience of transcending time and language.
Bibliography
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