TREES, SEAS, AND ECOFEMINIST IMAGINARY IN THE VANGUARD POETRY OF MAGDA

PORTAL (PERU, 1900-1989)

Author(s): Erin S. Finzer
Source: Hispanófila , ENERO 2015, No. 173 (ENERO 2015), pp. 319-332
Published by: University of North Carolina at Chapel Hill for its Department of
Romance Studies

Stable URL: https://www.jstor.org/stable/43808853

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Hispanófila

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 TREES, SEAS, AND ECOFEMINIST
IMAGINARY IN THE VANGUARD
POETRY OF MAGDA PORTAL
(PERU, 1900-1989)

Erin S. Finzer
University of Arkansas
at Little Rock

The first Fiesta de la Planta took place on Christmas Day, 1921, in Vitarte, an in-
dustrial suburb of Lima, Peru. Home to a large textile mill, Vitarte at the turn of the
century was a community of organized workers who successfully won an eight-hour
workday in 1919. With a proletarian consciousness and new time on their hands, the
workers welcomed the opening of Peru's second Gonzalez Prada Popular Universi-
ty in January 1921, with the revolutionary Aprista leader Raúl Haya de la Torre as
the school's director. Popular universities, which represented the alliance between
intellectuals and the working classes, were founded throughout Latin America and
provided classes for the poor with no tuition charge. University student activist vol-
unteers, such as feminist poet Magda Portal (Peru, 1900-1989) in the later 1920s,
taught workers and peasants basic academic and life skills, as well as Marxist-in-
spired theory.
As a spirited celebration of the popular university movement, Vitarte's annual
Fiesta de la Planta - with planta referring both to industrial and botanical plants -
attracted some 5000 workers and their families from all over Peru to participate not
only in tree planting, but also sporting events, a large communal meal, cultural ac-
tivities and political rallying in support of worker alliances and organizing (Murillo
Garaycochea in Pérez Ruiz, n. pag.). This tree-planting festival came not only to
symbolize the cultivation of intellectual and worker solidarity in Peru, but also
served as an initial metaphor through which Portal lyrically transcribed her early in-
volvement in Peru's popular struggle. Using the tree as an ecocritical point of depar-
ture in her early voice, Portal's poetic subjectivity can be seen as inscribed with an

319

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 320 Erin S. F Inzer

ecofeminist ethos that

vision than what APRA
lone voice in an early
chief among them G
nism as two ideologie
environmental and soc
particularly revolutio
sive vision of the wor
ecocritical analysis of
symbolic landscape. B
movement, Portal ev
landscapes of the sea
verse, free of the tra
weaves a feminist subj
way, Portal serves as
discourse. By analyzin
ment, and the ideas t
Portal's revolutionary
Portal brought to bear
Born in Lima in 190
and the free time to d
nancial insecurity resu
cially attending univ
Marcos around the same time as the end of the Mexican Revolution and the univer-
sity reforms of Argentina. Inspired by these events and the bohemian friends she
met at the university, Portal was initiated into student activism, which would deter-
mine the course of her life as a revolutionary leader, feminist, international lecturer,
writer, and vanguard poet. Among her most influential friends in 1920s Lima were
poet César Vallejo and writer José Mariátegui, founder of the continent-wide APRA
movement (Also referred to as Aprismo , the Alianza Popular Revolucionaria Ameri-
cana promoted, among other things, pan-Americanism as a consolidated front
against U.S. political and economic imperialism). These two mentors publicly en-
couraged Portal in both her political and poetic activities, and Portal published two
volumes of poetry and several little magazines during this time.
Although not considered part of the male-dominated vanguard movement by
conventional criticism, I place Portal's poetic squarely within the contestable van-
guard aesthetics of experimentation and ethos of social engagement and anti-impe-
rialism. Mariátegui praised Portal in his Siete ensayos de interpretación de la reali-
dad peruana , writing that her poetry served as an original voice in Latin American
women's poetry and describing "ese espíritu rebelde y ese mesianismo revolu-
cionario" that Portal balanced by living "apasionada y vehementemente, encendida
de amor y de anhelo y atormentada de verdad y de esperanza7' (281, 279). He noted
the revolutionary spirit in Portal, which the poet unapologetically combined with a
feminism that sought the absolute inclusion of women in the political process. Mar-
iátegui also publicly acknowledged Portal in the pages of his well-known journal,

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Trees , Seas, and Ecofeminist Imaginary 321

Amauta , as "'the purest feminine revolutionary fermen

New Woman, a combative muse" (in Unruh Performing
Critic Vicky Unruh also mentions Portal's involvement in
tivities C Latin American Vanguards 17). She examines
life's work not only to Marxist issues of class and ethni
of women in all aspects of vanguard society, art, and polit
affiliated herself with an official feminist movement ( Per
er critics also noted the revolutionary fervor of Portal's po
rary, Elvira García y García, included Portal in her ency
and cites "el dolor de la poetisa, que anhela un ideal"
writes of Portal as an heir to rebel Flora Tristan's idealism whose work with Ma-
riátegui informed her "consecuente y coherente acción política en busca de la trans-
formación de nuestra sociedad y la participación de la mujer dentro de una ideología
de izquierda" (n.pag.). Indeed, Portal's poetry and persona as a public intellectual
invited a heated polemic about gender in the public sphere.
It was under Mariátegui's poetic and intellectual mentorship that Portal began
teaching university sessions that took place between factory shifts in Vitarte, the lo-
cale of the Fiesta de la Planta. Although Haya de la Torre had founded the popular
universities, when he was forced to leave Peru after a clash with police in 1923,
Mariátegui's leadership ensured their ongoing success. Not surprisingly, Ma-
riátegui's well-known magazine, Amauta , also reported on the success of the Fiesta
de la Planta for the consecutive years of 1926 and 1927, although it laments a wane
in support for the celebration in 1928.
In its three-page spread on the 1927 Fiesta de la Planta, Amauta documents Por-
tal's poetry declamation with a photo and applauds her "Poema al árbol," among
several others' tree-themed poems. In a lengthy analysis of the festival's "Concurso
Poético de Vanguardia" (here, vanguard can be understood both in political and lit-
erary terms), Mariátegui states that, of the thirteen poems submitted to the Fiesta de
la Planta contest, seven of these "representan interpretaciones originales e intere-
santes del tema del concurso, logradas dentro de formas nuevas y con señalada
presencia de la personalidad de cada poeta" ("La Fiesta" 33). Nevertheless, he com-
plains that none of these seven poems can be recommended as an official hymn of
Peruvian workers because, although "algunos de estos poemas se acercan a lo que
debe ser un canto multitudinario, prevalence el elemento lírico" (34). He thus an-
nounces plans for these seven tree-themed poems to be published in a special edi-
tion and for a separate contest to be held on May 1 to choose an official hymn for
the workers of Peru. If these seven tree-themed poems, which would have included
Magda Portal's "Poema al árbol," were ever published, the edition now seems to be
lost. Among these poets is Blanca Luz Brum, who is mentioned for her poem,
"Himno." A January 1927 Boletín de las Universidades Populares Gonzales Prada
published her poem, "Mi canto al árbol," which is dedicated to the "obreros de Vi-
tarte." It is possible that this was the poem that Brum declaimed as "Himno" at the
1927 Fiesta. Other poets were Serafín Delmar with "Himno al árbol," Armando
Bazán with "Poema," Gamaliel Churata with "Canción al árbol," Cristóbal Meza
with "La canción del árbol," and Julián Petrovick with "Poema." It is possible,

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322 Erin S. Finzer

however, that Portal's

official wokers' hym
reference to Vitarte.
In addition to Amau
Claridad , contain inf
letín even includes a t
the poetry contest at
historians, Peruvian
Fiesta with inaugura
Pérez Ruiz, over 600
the tenure of the annu
to symbolize "sosiego
assigned to a worker,
going ritual symboli
both the tree and the
dividual tree and, by
and growing signifier
sémie performance im
practical and symbol
árbol" became synony
Ahead of its time, t
as poetry contests and
eth-century environm
cannot sustain the na
anticipated campaigns
proportionate numb
in unpleasant and po
historian Greg Cushm
movement of the ea
American Conservati
Pan-American Union
spheric collaboration
demonstrates, largely
vationist movements
though the movement
Portal's poetry consid
ration happened in th
derway for quite som
being with that of t
conservation movem
a la Naturaleza by a
nistradora del Guano
nated and technocra
helped the committe
As Cushman tells us,

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Trees , Seas , ara/ Ecofeminist Imaginary 323

mittee during its tenure: Luz Jarrín de Peñaloza, who h

women's political causes, legal services for the poor, and
Jarrín was sadly never granted official membership to this
club" (250).
Although female writers of this time period may not have
nized or explicitly identified with the official male-dom
would have been aware of burgeoning conservationist effort
pecially as their Pan-American Women affiliations often
the official movement.3 The work of these women ampl
tempts of the male-dominated movement by inscribing envi
the cultural sphere. Female writers thus not only humanized
servationist movement, but also - as we see in the poetry of
possibilities of spaces still unoccupied and unmarred by h
these idealized, primal spaces, however imaginary, assert
imperative, of wholly untainted and healthy ecosystems to w
aspires. Thus, although the term ecofeminism was not coi
writers nevertheless combined the movements of femin
which leading ecofeminist Carolyn Merchant has describ
the costs of competition, aggression, and domination arising
my's modus operandi in nature and society" (xx). Althoug
term ecofeminism , its meaning captures her project on all i
Central to the ecofeminist orientation of Portal's early poe
age of the tree. Cultural geographer Shaul Cohen reminds us
derpinnings that invest trees with meaning" in all cultures t
By combining this cultural significance with the utilitarian
the context of environmental crisis, Cohen argues that tree-
been manipulated by capitalist society to serve as "cosmet
ing" veils to the environmental pillage wrought by humans i
society (21). In the context of a counter-hegemonic stude
however, tree planting underscored how conservationist
values of the time went hand-in-hand on practical, aesthe
Although the Fiesta may not have articulated a conservationi
tainly resonated with tree planting and Arbor Day celebration
the hemisphere. Pérez Ruiz documents how its structure of e
to play on Raymond Williams' term, likely informed later co
Aprista movement, including its 1931 initiative, Peru's first
posal, to alleviate the air pollution caused by a silver mine (n
Despite the importance of the tree in the early Aprista
published poetry of Portal - one of APRA's most visual l
few trees, and images of trees are limited to her early verse
inated by the natural imagery of the sea, another critical en
does not lend itself as readily to the materialist symbolis
ment. Weaver writes that "the sea would become the cardina
poetry, a recurrent image of her own inveterate restless
served Portal with a mysterious and uninhabited landscap

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324 Erin S. Finzer

her poetic subjectivi

society. Unruh write
imagery wavers "betw
as a source of artisti
as-intellectual, akin t
but overlooked in he
infatuation with the
facilitates an ecofemi
as an "impossible ba
womanhood and mis
In Una esperanza i e
cantly as the second
tion that features the
occupying this prim
the book of the nat
tionary and feminis
tree as a being in soli
ban environment, w
lante y caliente. // a
the polysémie trees s
ties, in that they live
ers as the ultimate r
their day in the facto
de 100 hombres unid
oppressed, the facto
timately, the Sun, t
speaker at the end of
trees on the edge of t
was written to be the
In addition to placi
Portal organized Un
earth and the sea. Th
tempts to measure t
ping the coordinates
revolutionary strugg
the first poem) use th
sea, and those poems
Significantly, earth a
imprisonment, and in

* Portal substituted th
commonly includes ort
the materiality and arb

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Trees , Seas , and Ecofeminist Imaginary 325

[. . .] las ciudades donde

el hambre de los HOMBRES
se ha trepado por los rascacielos
i se enreda a los radiogramas
del espacio
para llorar su esclavitud
Ciudades congestionadas de epilepsia
donde nos damos con la
muerte. (13-21)

Insofar as the verb trepar , or climbed up, is typically associated in Spanish with
trees, here skyscrapers stand in for trees as cruel, artificial substitutes of natural
abundance that has been replaced by urban development. It is no wonder, then, that
the poetic voice longs for a watery, unhuman space, "2000 kms. fuera de la / RE-
ALIDAD," as in Portars poetic, human reality represents misery and hunger in this
overdeveloped world ("Poema 18" 19).
Because Portal was an Aprista, it is not surprising to find in her environmental-
ly-themed poetry both the conservationist sentiments of the Fiesta de la Planta and a
primary concern with land ownership through Pan-Americanism. Less evident in
her poetry are the traces of feminism, but an unarticulated feminist ethos can be
read in the speaker's affirmative relationship with the sea and contiguous spaces.
Conspicuously free of nationalist tropes, her poetry significantly, albeit implicitly,
engages the international values of Pan-Americanism by pressing forever beyond
national and earthly borders. Her sea is superlatively transnational and fluid, allow-
ing for what critic Hester Blum calls literary oceanic studies' "reorientation of criti-
cal perception" (671). Blum writes, "If methodologies of the nation and the postna-
tion have been landlocked, [. . .] then an oceanic turn might allow us to derive new
forms of relatedness from the necessarily unbounded examples provided in the mar-
itime world" (671). Portal's sea imagines a new form of relatedness, or subjectivity,
for a female revolutionary navigating the realities of global capitalism, nationalism,
and patriarchy.
From the outset of the collection, the speaker announces that she does not feel at
home on the earth and needs the sea as a sort of primordial world, which Unruh in-
terprets as an "antidote to modernity's alienation" ( Performing Women 181). In the
first poem of the collection, "frente a la Vida," she states,

NO TENGO PROCEDENCIA
amo la Tierra
porque vengo del seno de la Tierra,
pero tengo los brazos
tendidos al Mar. (6-9)

When she is later landlocked in "Poema 14," she buys a train ticket: "ahora que está
lejos el mar / yo resuelvo el problema de mi angustia / con el boleto del pasaje" (11-
13). Unfortunately, this terrestrial voyage does not cure her suffering, as "cada
mañana llega con su equipaje de esperanza / que resulta vacío" (16-17). The speak-

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 326 Erin S. Finzer

er's avant garde urge

and the earth form a
the collection, with th
feels relieved of the e
peatedly characterized
alization and urbaniz
etic voice with the f
and feminine subjectiv
her mentors, Haya de
"I" could have been v
poetry effectively de-
that accounts for the
plies with the values t
As Portal employs t
which to develop a u
Evernden's idea of the
implications of this
that Portal experience
feminist, a political
the struggles for pan-
to critic William Boe
persion, conjunction,
and stratified lines an
670).7 Portal expands
aesthetics of the vang
and "poesía femenina
velopment of the twe
one of "poesía femen
Portal's poetry evok
landscapes and biodiv
slogans and ideologie
the extreme liberty a

el gran ruido del m

en cuyos frontales
de la más libre libertad
para extender mis manos afiladas i firmes
a los muros cerrados de la muerte. (11)

The sea, boundless and alive, gives form to her imagining a reality beyond the con-
fines of her body, which she associates with death. In this way, the sea as image and
signifier introduces Portal's poetic "I" to an experience akin to what theorist Timothy
Morton has called the "ecological thought." The sea, like Morton's ecological
thought, "overflows the thought that thinks it" by thinking past itself and its thinker
and encompassing all existence in a radically interconnected totality (3). In this way,

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Trees , Seas , ara/ Ecofeminist Imaginary 327

the concept of the sea also pushes against the confines of po

Portal's experiments with irregular versification, spacing, sp
The poetic voice later describes the human inhabitants o
by maritime technology, in the poem "Pacific Steam." Here t
manned by a "rojo capitán obeso" and carries "viajeras pá
- / hombres que fuman cigarillos de recuerdo" (15). Obser
speaker, these voyagers seem unwelcome or inconsequent
hending the liminal experiences of travel at nighttime and d
the sea, whose color mirrors the "jersey de la mañana," th
a chronotope of gray space. The final three verses of the
ence of dawn as a kind of temporal horizon:

por las claraboyas de la noche

se asomó la mañana

EN SUS MANOS TRAIA LA COSTA - (15)

Although the antecedent to the hands' possessor is ambiguous, the closest noun,
"mañana," again couples the motifs of time and space, as both morning and coast
function as the limits of mysterious seaspace, which in the night envelops the
speaker like the "vientre negro de fiera amaestrada" (15). Here again, the embodied
experience of sea travel described by the speaker captures the "mesh" qualities of
Morton's ecological thought (15). Blurring the boundaries between time and space
and among air, land, and sea, the speaker attempts to give poetic form to an infinite-
ly inviting space, a kind of heimlich sublime that allows one to unravel her subjec-
tivity in order to see it picked up by the universe.
In addition to its meditations on temporal and earthly liminality, "Pacific
Steam" reminds us that the speaker's cosmic experience of the sea does not exclude
a more materialist discourse. As critic Patricia Yaeger reminds us, "The sea is just
another site where human relations take shape and connect through low-cost hard-
ware and the freedom of an unregulated environment" (532). Even in Portal's day,
the sea was becoming increasingly polluted, mined for oil and other animal and
mineral resources, and cris-crossed with humans, raw materials, and consumer
goods. Portal's poetry does not mention sea trash, overfishing, oils spills, or toxic
waters, but, as Yaeger points out, when ecocriticsm - which she defines as "an envi-
ronment-based analysis that refuses to essentialize nature" - is set in the ocean, it
gives way to "echocriticism, a practice of anachronistic reading inviting stories,
novels, and other imaginative works about the sea to provide echo chambers, sites
of wild or sober echolalia, for the most pressing questions about the ocean's and
oceanic creatures' survival" (538). By examining Portal's sea motif as an echo
chamber, we uncover how her poetry implicitly engages the values of Aprismo. Al-
though her poetry is far from being propaganda, neither is it what Haya de la Torre
considered bourgeois lyrics because it consistently challenges traditional poetic
form and questions artificial limits that convention imposes on self-expression and
realization. Portal's speaker does undertake a sort of individual quest into the depths

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328 Erin S. Finzer

of the psyche, but t

seeks connections wit
common humanity:
comes a matrix for
"reclamos para los ha
The projection of a
the essentialist cont
tal's early mentor and
his Siete ensayos de
by Marxist thought,
vian history and ethn
intern in 1929. Criti
to his concern for th
his belief that, in ord
be a return to what
distributed land and
seventh essay on ind
de la tierra" (in Read
utopie concept that,
made private proper
(299). Seen from thi
Portal's sea ethic: as
dwelling places; it c
of the sea, Portal rep
also allows, by its ver
alternative, postmode
torily urban trapping
of the twentieth centu
Mariátegui's construc
tal's essentialist conce
in whose depths one
onates with the impli
ings by Gabriela Mi
de Folgar, which cas
pher William Denev
myth," which has tr
that they were unwil
Although Portal's p
scapes are entirely u
pared to Portal's attra
ation myths. In the
creator huaca (god o
fore disappearing in
the ocean with fish
way, both Mariátegu

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Trees , Seas , a/id Ecofeminist Imaginary 329

like space in which to reinvent not only themselves, but soc

to what they also idealized as a pre-Capitalist space, be it
and Mariátegui envisioned the possibility of beginning a n
reality in which people - criollo, indigenous, male, and
from oppression and valued as equals.
Portal's poem "frente a la Vida" suggests just such a ret
hombre esclavo - pequeño hijo de la Tierra" is hastened to th

encarcelado hombre de ayer,

hierve el mar subterraneo del pasado
donde se nutren las raíces
de los hombres de hoi (6)

In contrast to the incarcerated man of the past, it is implied that today's man is free
by virtue of the sea, "el único libre bajo el cielo" (7). Similarly, the speaker express-
es a primal need to go to the sea. Born of the earth, she returns to her origins, which
in turn liberate her:

amo la Tierra
porque vengo del seno de la Tierra
pero tengo los brazos
tendidos al Mar. (5)

Here Portal's primordial relationship with the earth genders as feminine a pre-mod-
ern, pre-industrial, ecology-centered cosmology, resonating strongly with the essen-
tialist chords of ecofeminism. Merchant writes,

The ancient identity of nature as a nurturing mother links women's his-

tory with the history of the environment and ecological change. [. . .] The
ecological movement has reawakened interest in the values and concepts
associated historically with the premodern organic world. The ecological
model and its associated ethics make possible a fresh and critical interpre-
tation of the rise of modern science in the crucial period when our cosmos
ceased to be viewed as an ism and became instead a machine, (xx)

In just this way, the last verse of the poem underlines that the speaker's yearning for
the sea is not only physical, but also somewhat erotic and spiritual with the mention
of "carne" and "dios."
Despite Portal and Mariátegui 's romanticized recipes for a new world order by
way of the sea or a pre-Columbian land ethic, the fact remains that both sea and
land exist as pre-conditions for accumulating material wealth. Even though these
writers tried to imbue these spaces aesthetically with meanings of freedom, equality,
and justice, their cartographies could not be purged of their histories of materialist
semiotics. Thus, just as Read arrives at the conclusion that Mariátegui's ultimate
blunder was not being able to see land - however idealized - as a modus for control
and domination, the echo-poetics of the ocean as literary metaphor reel Portal's pro-

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 330 Erin S. Finzer

ject back to the real

ultimately fail (314
would become increa
following the public
chews the reality of
transportation, waste
In her call for echo-
the oceanic sublime
goods" (535). Indeed,
ble - ergo, invisible -
ploitation. In spite of
etry performs anot
boundless, sublimel
who venture to explo
bility. As we begin i
done to the world's
al to which to (re)tur
reducing our consump
her workers. Capturi
thought, this seemin
imaginative arts. Her
essay, "un nuevo sen
universales, ecumén
más a nosotros mismo
the one parabolically
closer and distinct. In
terialist relationship w
ing towards a cleaner
and ecocritical impera

NOTES

1 See Finzer.
2 He cites the work of historians Luis Alberto Sánchez, Felipe Cossio del Pomar
and Percy Murillo Garaycochea in order to demonstrate the profound reach of the Fiesta.
3 For example, Elvira García y García's La mujer peruana bears a frontispiece
from the executive committee of the Segunda Conferencia Pan Americana de Mujeres,
which was part of the Tercer Congreso Científico Pan Americano that took place in Lima in
November 1924 and which awarded the publication of the two- volume encylopedic tome.
4 These poems are "frente a la Vida," "Pacific Steam," "Poema 14", "Poema 18",
"Espumas", "Mar de alegría", "El mar distante" and "El viajero de todos los mares," which
is dedicated to Portal's lover, whose pseudonym "Serafín Delmar also seems to answer to
Portal's love for the sea.

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Trees , Seas, and Ecofeminist Imaginary 331

5 The urge to travel here can be seen as a value characteri

modern condition, especially, as critic Patricia Yaeger reminds
nology (526). It is not surprising, then, that traveling with n
in Latino culture - was also a favored theme of the vanguards.
6 For a complete discussion of Mariátegui's ideas on literar
"Mariátegui's Aesthetic Thought."
7 Blum cites Boelhower's essay, "The Rise of the New A
American Literary History 20.1 (2008): 83-101.

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