The SAGE Handbook of Marxism

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THE SAGE HANDBOOK OF MARXISM
THE SAGE HANDBOOK OF MARXISM
The SAGE Handbook of Marxism intends to set the agenda for
Marxist understandings of the present and for the future. It will
provide an in-depth cartography of – and original contribution to –
contemporary Marxist theory and research, showcasing the vitality
and range of today's Marxisms.

The Handbook sets out from the premise that it is possible to bring
together diverse work across the disciplines to demonstrate what is
living and lively in Marxist thought, providing a transdisciplinary ‘state
of the art’ of Marxism, while inspiring contributions to areas of
research that still remain, in some cases, embryonic. The aim is to
demonstrate how attention to shifting social and cultural realities has
compelled contemporary researchers to revisit and renovate classic
Marxian concepts as well as to elaborate – in dialogue with other
intellectual traditions – new frameworks for the analysis and critique
of contemporary capitalism.
The past decade has witnessed a resurgent interest in Marxism
within and without the academy. This renaissance of sorts cannot be
framed, however, as a simple return of Marxism. The multiple crises
of Marxism since the 1980s – in both political and academic life –
have had lasting and in some cases irreversible effects for certain
understandings of Marxist theory. Yet it is also true that theoretical
approaches that largely defined themselves by contrast with
Marxism – from postcolonial theory to deconstruction, from post-
Marxism to certain varieties of feminism – have encountered serious
limits when it comes to thinking the patterns of change and
domination that define capitalism.
The SAGE Handbook of Marxism intends to advance the debate with
essays that rigorously map and renew the concepts that have
provided the groundwork and main currents for Marxist theory, and
to showcase interventions that set the agenda for Marxist research in
the twenty-first century.
THE SAGE HANDBOOK OF
MARXISM

Edited by

Beverley Skeggs

Sara R. Farris

Alberto Toscano

Svenja Bromberg

Los Angeles

London
 New Delhi

Singapore

Washington DC

Melbourne
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Editor: Robert Rojek

Editorial Assistant: Umeeka Raichura

Production Editor: Manmeet Kaur Tura

Copyeditor: Sunrise Setting

Proofreader: Sunrise Setting

Indexer: KnowledgeWorks Global Ltd.

 Marketing Manager: Susheel Gokarakonda

Cover Design: Naomi Robinson

Typeset by KnowledgeWorks Global Ltd.

Printed in the UK

At SAGE we take sustainability seriously. Most of our products are printed in the UK using
responsibly sourced papers and boards. When we print overseas we ensure sustainable
papers are used as measured by the PREPS grading system. We undertake an annual
audit to monitor our sustainability.

Introduction & editorial arrangement © Beverley Skeggs, Sara R.

Farris, Alberto Toscano, & Svenja Bromberg, 2022
Chapter 1 © Jairus Banaji, 2022
Chapter 2 © John Haldon, 2022
Chapter 3 © Tithi Bhattacharya, Sara R. Farris & Sue Ferguson,
2022
Chapter 4 © Stefano Dughera & Carlo Vercellone, 2022
Chapter 5 © Tommaso Redolfi Riva, 2022
Chapter 6 © Jim Kincaid, 2022
Chapter 7 © Guido Starosta, 2022
Chapter 8 © Jason E. Smith, 2022
Chapter 9 © Patrick Murray, 2022
Chapter 10 © Riccardo Bellofiore & Andrea Coveri, 2022
Chapter 11 © Beverley Skeggs, 2022
Chapter 12 © Alessandro De Giorgi, 2022
Chapter 13 © Brenna Bhandar, 2022
Chapter 14 © Leonardo Marques, 2022
 Chapter 15 © Sara R. Farris, 2022
Chapter 16 © Laura Schwartz, 2022
Chapter 17 © Panagiotis Sotiris, 2022
Chapter 18 © Neil Davidson, 2022
Chapter 19 © Heide Gerstenberger, 2022
Chapter 20 © Gavin Walker, 2022
Chapter 21 © Ken C. Kawashima, 2022
Chapter 22 © Alberto Toscano, 2022
Chapter 23 © Salar Mohandesi, 2022
Chapter 24 © Chris O'Kane, 2022
Chapter 25 © Harrison Fluss, 2022
Chapter 26 © Massimiliano Tomba, 2022
Chapter 27 © Kanishka Goonewardena, 2022
Chapter 28 © Amy E. Wendling, 2022
Chapter 29 © Miguel Candioti, 2022
Chapter 30 © Anselm Jappe, 2022
Chapter 31 © Jan Rehmann, 2022
Chapter 32 © Elena Louisa Lange, 2022
Chapter 33 © Andrés Saenz de Sicilia, 2022
Chapter 34 © Silvia Federici, 2022
Chapter 35 © Massimo De Angelis, 2022
Chapter 36 © Verónica Gago, 2022
Chapter 37 © Kohei Saitoa, 2022
 Chapter 38 © George Caffentzis, 2022
Chapter 39 © Matt Huber, 2022
Chapter 40 © Erica Lagalisse, 2022
Chapter 41 © Gail Day, Steve Edwards & Marina Vishmidt, 2022
Chapter 42 © Luisa Lorenza Corna, 2022
Chapter 43 © Jeremy Gilbert, 2022
Chapter 44 © Brent Ryan Bellamy, 2022
Chapter 45 © Daniel Hartley, 2022
Chapter 46 © Nicholas Thoburn, 2022
Chapter 47 © Maïa Pal, 2022
Chapter 48 © Robert Knox, 2022
Chapter 49 © Gerard Hanlon, 2022
Chapter 50 © Roberto Mozzachiodi, 2022
Chapter 51 © Les Levidow and Luigi Pellizzoni, 2022
Chapter 52 © Jamila M. H. Mascat, 2022
Chapter 53 © Samo Tomšič, 2022
Chapter 54 © Peter Drucker, 2022
Chapter 55 © David Fasenfest and Graham Cassano, 2022
Chapter 56 © Roderick A. Ferguson, 2022
Chapter 57 © Ashley J. Bohrer, 2022
Chapter 58 © Asad Haider, 2022
Chapter 59 © Jonathan Beller, 2022
Chapter 60 © Kalpana Wilson, 2022
 Chapter 61 © Anandi Ramamurthy, 2022
Chapter 62 © Andrew Curley, 2022
Chapter 63 © Miri Davidson, 2022
Chapter 64 © Jeffery R. Webber, 2022
Chapter 65 © Joshua Clover, 2022
Chapter 66 © Gregor McLennan, 2022
Chapter 67 © Chiara Giorgi, 2022
Chapter 68 © Emma Dowling, 2022
Chapter 69 © Søren Mau, 2022
Chapter 70 © Oxana Timofeeva, 2022
Chapter 71 © Hannah Proctor, 2022
Chapter 72 © Pietro Bianchi, 2022
Chapter 73 © Johanna Isaacson & Annie McClanahan, 2022
Chapter 74 © Cinzia Arruzza, 2022
Chapter 75 © Wendy Matsumura, 2022
Chapter 76 © Katie Cruz and Kate Hardy, 2022
Chapter 77 © Jamie Woodcock, 2022
Chapter 78 © Rohini Hensman, 2022
Chapter 79 © Charmaine Chua, 2022
Chapter 80 © Jeremy Anderson, 2022
Chapter 81 © Tine Haubner, 2022
Chapter 82 © Ståle Holgersen, 2022
Chapter 83 © David Harvie & Ben Trott, 2022
 Chapter 84 © Andrea Fumagalli, 2022
Chapter 85 © Paul Rekret & Krystian Szadkowski, 2022
Chapter 86 © Nicholas De Genova, 2022
Chapter 87 © Sandro Mezzadra & Brett Neilson, 2022

Apart from any fair dealing for the purposes of research or private
study, or criticism or review, as permitted under the Copyright,
Designs and Patents Act, 1988, this publication may be reproduced,
stored or transmitted in any form, or by any means, only with the
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Library of Congress Control Number: 2021949078

British Library Cataloguing in Publication data

A catalogue record for this book is available from the British Library

978-1-4739-7423-4
CONTENTS
List of Figures
Notes on the Editors and Contributors
Editors’ Introduction
Volume 1
Part I Reworking the critique of political economy
1 Merchant Capitalism
2 Mode of Production
3 Social Reproduction Feminisms
4 Rent
5 Value
6 Money and Finance
7 Labour
8 Automation
9 Methods
10 The Transformation Problem
Part II Forms of domination, subjects of struggle
11 Class
12 Punishment
13 Race
14 Slavery and Capitalism
15 Gender
16 Servants
Part III Political perspectives
17 Politics
18 Revolution
19 State
20 Nationalism and the National Question
21 Crisis
22 Communism
23 Imperialism
Part IV Philosophical dimensions
24 Totality
25 Dialectics
26 Time
27 Space
28 Alienation
29 Praxis
30 Fetishism
31 Ideology-Critique and Ideology-Theory
 32 Real Abstraction
33 Subsumption
Volume 2
Part V Land and existence
34 Primitive Accumulation, Globalization and Social
Reproduction
35 Commons
36 Extractivism
37 Agriculture
38 Energy and Value
39 Climate Change
Part VI Domains
40 Anthropology
41 Art
42 Architecture
43 Culture
44 Literary Criticism
45 Poetics
46 Communication
47 International Relations
48 Law
49 Management
50 The End of Philosophy
51 Technoscience
52 Postcolonial Studies
53 Psychoanalysis
54 Queer Studies
55 Sociology and Marxism in the USA
56 The University
Volume 3
Part VII Inquiries and debates
57 Intersectionality
58 Black Marxism
59 Digitality and Racial Capitalism
60 Race, Imperialism and International Development
61 Advertising and Race
62 Dependency Theory and Indigenous Politics
63 The Primitive
64 Social Movements
65 Riot
66 Postsecularism and the Critique of Religion
67 Utopia
68 Affect
 69 The Body
70 Animals
71 Desire
72 Filming Capital
73 Horror Film
74 Three Debates in Marxist Feminism
75 Triple Exploitation, Social Reproduction, and the
Agrarian Question in Japan
76 Prostitution and Sex Work
77 Work
78 Domestic Labour and the Production of Labour-
Power
79 Logistics
80 Labour Struggles in Logistics
81 Welfare
82 The Urban
83 Cognitive Capitalism
84 Bio-Cognitive capitalism
85 Intellectual Property
86 Deportation
87 Borders
Index
61.1 Cadbury's cocoa advertisement c 1900, courtesy of
Cadbury's and MDLZ1135
61.2 Hands (Anandi Ramamurthy 2020)1139

61.3 The smiling worker1143

NOTES ON THE EDITORS AND
CONTRIBUTORS

THE EDITORS
Sara R. Farris
is a Reader in the Department of Sociology at Goldsmiths
University of London. She has published widely on issues of
gender, migration, social reproduction and racism/nationalism as
well as social and political theory. She is the author of Max
Weber's theory of personality. Individuation, politics and
orientalism in the sociology of religion (Brill Academic Publishers
2013) and In the name of women's rights. The rise of
Femonationalism (Duke University Press 2017).
Beverley Skeggs
is Professor of Sociology at Lancaster University. She has
published The Media; Issues in Sociology; Feminist Cultural
Theory; Formations of Class and Gender; Class, Self, Culture
Sexuality and the Politics of Violence and Safety (with Les
Moran) and Feminism after Bourdieu (with Lisa Adkins), and
with Helen Wood, Reacting to Reality TV: Audience,
Performance, Value and Reality TV and Class. As an ESRC
Professorial Fellow she developed a “sociology of values and
value'’ and whilst Director of the Atlantic Fellows Programme,
established the ‘Global Economies of Care’ theme at the LSE.
She is also the Chief Executive of The Sociological Review
Foundation.
Alberto Toscano
is Professor of Critical Theory in the Department of Sociology
and Co-Director of the Centre for Philosophy and Critical Theory
at Goldsmiths, University of London, and Visiting Professor at
the School of Communications at Simon Fraser University.
Since 2004 he has been a member of the editorial board for the
journal Historical Materialism: Research in Critical Marxist
Theory and is series editor of The Italian List for Seagull Books.
He is the author of The Theatre of Production (2006),
Fanaticism: On the Uses of an Idea (2010; 2017, 2nd edn) and
Cartographies of the Absolute (2015, with Jeff Kinkle). A
 translator of Antonio Negri, Alain Badiou, Franco Fortini, Furio
Jesi and others, Toscano has published widely on critical theory,
philosophy, politics and aesthetics.
Svenja Bromberg
is a Lecturer in the Department of Sociology at Goldsmiths,
University of London. Her research and teaching are in
continental philosophy and social theory with a focus on issues
of emancipation, radical democracy, and materialist
philosophies. She completed her PhD “Thinking ‘Emancipation’
after Marx - A Conceptual Analysis of Emancipation between
Citizenship and Revolution in Marx and Balibar” in 2016. Svenja
is a co-editor of Eurotrash (published 2016 at Merve Verlag,
Berlin together with Birthe Mühlhoff and Danilo Scholz) and a
member on the editorial board of the journal Historical
Materialism. She recently published ‘Marx, an ‘Antiphilosopher'?
Or Badiou's Philosophical Politics of Demarcation’ in: Völker, J.
(ed) (2019), Badiou and the German Tradition of Philosophy,
London: Bloomsbury Academic.

THE CONTRIBUTORS
Jeremy Anderson
is Head of Strategic Research at the International Transport
Workers’ Federation (ITF) and previously worked for the Service and
Food Workers’ Union of Aotearoa New Zealand. His PhD
(Geography, Queen Mary, University of London) analyses
transnational union organising campaigns.

Cinzia Arruzza
is Associate Professor of Philosophy at the New School for Social
Research. She works on ancient Greek philosophy and Marxist and
feminist theory. She is the author of Dangerous Liaisons: The
Marriages and Divorces of Marxism and Feminism (2013), Plotinus.
Ennead II 5. On What Is Potentially and What Actually (2015), A
Wolf in the City: Tyranny and the Tyrant in Plato's Republic (2018)
and co-author of Feminism for the 99%. A Manifesto (2019).

Jairus Banaji
studied Classics, Ancient History and Modern Philosophy at Oxford
in the late 1960s and eventually returned to India to do Modern
History at Jawaharlal Nehru University (JNU), New Delhi soon after
that institution was founded. After working with the unions in Bombay
for about 10 years, he returned to Oxford to do a DPhil in Roman
history. This was later published as Agrarian Change in Late
Antiquity: Gold, Labour, and Aristocratic Dominance (2007, 2nd edn).
He has been a Research Associate with the Department of
Development Studies, SOAS, University of London for a number of
years, and is associated with the journals Journal of Agrarian
Change and Historical Materialism. His latest books include
Exploring the Economy of Late Antiquity: Selected Essays (2016)
and A Brief History of Commercial Capitalism (2020).

Brent Ryan Bellamy

is an instructor in the English and Cultural Studies departments at
Trent University. He is the author of Remainders of the American
Century: Post-Apocalyptic Novels in the Age of US Decline (2021)
and co-editor of An Ecotopian Lexicon (2019) and Materialism and
the Critique of Energy (2018). He teaches courses in science fiction,
graphic fiction, American literature and culture, and critical world
building. He currently studies narrative, US literature and culture,
science fiction, and the cultures of energy.

Jonathan Beller
is Professor of Humanities and Media Studies and co-founder of the
Graduate Program in Media Studies at Pratt Institute. His books
include The Cinematic Mode of Production: Attention Economy and
the Society of the Spectacle (2006), Acquiring Eyes: Philippine
Visuality, Nationalist Struggle, and the World-Media System (2006),
The Message is Murder: Substrates of Computational Capital (2017)
and The World Computer: Derivative Conditions of Racial Capitalism
(2021). He is a member of the Social Text editorial collective.

Riccardo Bellofiore
was Professor of Political Economy at the University of Bergamo,
now retired. There he taught macroeconomics, monetary economics,
international monetary economics and history of economic thought.
His research interests include Marxian theories of value and crisis,
the dynamics of the capitalist contemporary economy, macro-
monetary and financial approaches and the philosophy of
economics.

Brenna Bhandar
is Reader in Law and Critical Theory at SOAS, University of London.
She is the author of Colonial Lives of Property: Law, Land and Racial
Regimes of Ownership (2018) and co-editor with Rafeef Ziadah of
Revolutionary Feminisms: Conversations on Collective Action and
Radical Thought (2020) and with Jon Goldberg-Hiller of Plastic
Materialities: Politics, Legality and Metamorphosis in the Work of
Catherine Malabou (2015). She is a member of the Radical
Philosophy editorial collective.

Tithi Bhattacharya
is a Professor of South Asian History at Purdue University. She is the
author of The Sentinels of Culture: Class, Education, and the
Colonial Intellectual in Bengal (Oxford University Press, 2005) and
the editor of the now classic study, Social Reproduction Theory:
Remapping Class, Recentering Oppression (Pluto Press, 2017). Her
recent coauthored book includes the popular Feminism for the 99%:
A Manifesto (Verso, 2019) which has been translated in over 25
languages. She writes extensively on Marxist theory, gender, and the
politics of Islamophobia. Her work has been published in the Journal
of Asian Studies, South Asia Research, Electronic Intifada, Jacobin,
Salon.com, The Nation, and the New Left Review. She is on the
editorial board of Studies on Asia and Spectre.

Pietro Bianchi
is Assistant Professor of Critical Theory at the English Department of
the University of Florida. He has written Jacques Lacan and Cinema.
Imaginary, Gaze, Formalisation (2017) and several articles and
essays on Lacanian psychoanalysis, film studies and Marxism in
journals such as Crisis&Critique, Angelaki, Filozofski Vestnik, Fata
Morgana and S: Journal of the Circle for Lacanian Ideology Critique.
He also regularly collaborates as a film critic with Italian media
outlets Cineforum, Doppiozero, FilmTv and DinamoPress.

Ashley J. Bohrer
is a scholar-activist based in Chicago. She holds a PhD in
Philosophy and is currently Assistant Professor of Gender and
Peace Studies at the University of Notre Dame. Her academic work
focuses on the relationship between exploitation and oppression
under capitalism. She is the author of Marxism and Intersectionality:
Race, Gender, Class and Sexuality under Contemporary Capitalism
(2019).

George Caffentzis
is a philosophy scholar and activist. He received his PhD in
Philosophy from Princeton University in 1977, with a dissertation
entitled ‘Does Quantum Mechanics Necessitate a Theoretical
Revolution in Logic?'. He has taught logic and philosophy of science
in universities in the USA and at the University of Calabar, in Nigeria,
and he has lectured in several universities in Europe and Latin
America. His scholarly focus since the 1980s has been the
philosophy of money and Marxist theory. Caffentzis is now a retired
Professor Emeritus of Philosophy at the University of Southern
Maine. His published work includes a three-volume study of the
‘British empiricist’ philosophers’ contribution to the development of
monetary theory and empire: Clipped Coins, Abused Words and Civil
Government: John Locke's Philosophy of Money (1989), Exciting the
Industry of Mankind: George Berkeley's Philosophy of Money (2000)
and Civilizing Money: David Hume's Philosophy of Money, which is
now under contract with Pluto Press. Other works include In Letters
of Blood and Fire (2013), recently published in Spanish, No Blood for
Oil (2017) and A Thousand Flowers: Social Struggle against
Structure Adjustment in African Universities (2000, co-edited with
Silvia Federici and Ousseina Alidou).

Miguel Candioti
has a degree in Philosophy (National University of Rosario), a
Master's degree in Interculturality (University of Bologna) and a
doctorate in Humanities (Pompeu Fabra University). He has studied
deeply the development of the concept of praxis in Marx and early
Italian theoretical Marxism (from Antonio Labriola to Antonio
Gramsci). Among his published articles are ‘The Enigma of the
Theses on Feuerbach and the secret thereof’ (2014), ‘Fetishism of
use value? Towards a Marxist theory of value and power in general’
(2015), ‘Karl Marx and the practical materialist theory of alienation of
the (Collective) Human Subject’ (2016) and ‘The Revolutionary Moral
Idealism Inherent in the Practical Materialism of Karl Marx’ (2017).
Since 2015 he has been working as a professor and Researcher at
the National University of Jujuy, where he leads the chairs of Political
Philosophy and Metaphysics.

Graham Cassano
is an Associate Professor of Sociology at Oakland University. His
most recent books include A New Kind of Public: Community,
Solidarity, and Political Economy in New Deal Cinema, 1935–48,
Eleanor Smith's Hull House Songs: The Music of Protest and Hope
in Jane Addams's Chicago and the forthcoming Urban Emergency:
(Mis)Management and the Crisis of Neoliberalism.
Charmaine Chua
is Assistant Professor of Global Studies at the University of
California, Santa Barbara. Her work explores the co-constitution of
logistical technologies, global supply chains and racialised
dispossession in the context of US empire. Charmaine holds a PhD
in Political Science from the University of Minnesota, Twin Cities.
She is the reviews and magazine editor for Environment and
Planning D: Society and Space and a member of the Abolition
Journal and Amazonians United collectives. Her work has been
published in Theory and Event, Historical Materialism and
Environment and Planning D, among other venues.

Joshua Clover
is the author of seven books, including Roadrunner (2021) as well as
Riot.Strike.Riot: the New Era of Uprisings, a political economy of
social movements, with recent editions in French, German, Turkish
and Swedish. He is currently Professor of English and Comparative
Literature at the University of California Davis as well as Affiliated
Professor of Literature and Modern Culture at the University of
Copenhagen.

Luisa Lorenza Corna

teaches at Middlesex University and at the University of Portsmouth.
She is also a Visiting Lecturer at the University of Milan/Bicocca's
Master's in Critical Theory. Her main concern is the relationship
between politics, art and architectural theory. Since completing her
PhD her research has developed along three main lines: Marxism
and theories of the city, with a focus on the postwar Italian context;
art and architectural historiographies; and the influence of feminist
epistemologies on histories and theories of art. She has written for
various journals, including Parallax, Historical Materialism, Radical
Philosophy, Art Monthly, Texte Zur Kunst and Jacobin. At the
moment she is completing, with Jamila Mascat and Matthew Hyland,
an anthology of Carla Lonzi's art historical and feminist writings for
Seagull Books. She is also working on her first monograph,
tentatively titled Fugitive Lives, which examines the theme of leaving
the art/architectural world from the point of view of the critic.

Andrea Coveri
holds a PhD in Economics from Marche Polytechnic University. He is
currently Postdoctoral Research Fellow in Applied Economics at the
University of Urbino, where he taught global political economics and
microeconomics. His research interests include Marxian theory of
value, global value chains, innovation dynamics and industrial policy.

Katie Cruz
is a Senior Lecturer in Law at the University of Bristol. She
researches sex work, trafficking for sexual exploitation and sex
tourism through the lens of Marxist feminist legal theory. Katie is
currently working on a monograph about sex-worker-rights activists’
social and legal use of rights discourse in the UK. This empirically
grounded research investigates the possibilities and limits of rights
for sex workers using legal doctrinal methods and Marxist feminist
theory. Katie regularly collaborates with sex-worker-rights activists in
the UK and has a long-standing history of sex-work and feminist
activism. She is Co-Director of the Bristol Centre for Law at Work
and an editor of the journal Feminist Legal Studies.

Andrew Curley
(Diné) is an Assistant Professor in the School of Geography,
Development and Environment at the University of Arizona. His
research focuses on the incorporation of Indigenous nations into
colonial economies. His recent publications speak to the role of Diné
coal workers and environmentalists in Navajo politics of energy
transition. He has also published on Indigenous water law and water
rights.

Miri Davidson
is a PhD student at Queen Mary, University of London. She writes
about the history of anthropology and the French left.

Neil Davidson.
Born in Aberdeen, Neil Davidson (1957–2020) was an activist and a
historical sociologist who wrote on revolution and nationalism. For
much of his working life, Davidson was a civil servant in Scotland. In
2008 he began teaching at the University of Strathclyde and in 2013
joined the Sociology Department at Glasgow. Davidson was the
author of three monographs: The Origins of Scottish Nationhood
(2000), Discovering the Scottish Revolution 1692–1746 (2003),
which was awarded both the Isaac and Tamara Deutscher Memorial
Prize and the Saltire Society's Andrew Fletcher of Saltoun Award,
and the monumental How Revolutionary Were the Bourgeois
Revolutions? (2012). He published three collections of essays with
Haymarket Press and co-edited Alasdair MacIntyre's Engagement
with Marxism (2008), Neoliberal Scotland (2010), The Longue Durée
of the Far-Right (2014) and No Problem Here: Understanding
Racism in Scotland (2018). At the time of his premature death,
Davidson was working on numerous projects, including a book on
uneven and combined development; a response to the critics of his
work on bourgeois revolutions; a study of neoliberalism; and a book
on the ‘actuality’ of revolution. It is hoped that these and other works
will be published in the near future.

Gail Day's
Dialectical Passions: Negation in Postwar Art Theory (2011) was
shortlisted for the Isaac and Tamara Deutscher Memorial Prize. She
is Professor of Art History and Critical Theory, and Director of
Research in the School of Fine Art, History of Art and Cultural
Studies at the University of Leeds, where she is Co-Founder of the
Centre for Critical Materialist Studies. Gail is also part of the
research collective Marxism in Culture (at the Institute of Historical
Research, London). With Steve Edwards and colleagues from
Universidade de São Paulo she initiated the project Aesthetic Form
& Uneven Modernities, and she belongs to DESFORMAS (Centro de
estudos Desmanche e Formação de Sistemas Simbólicos at USP).
Massimo De Angelis
is an author, teacher and activist who has engaged with the question
of post-capitalist transformation for over four decades. He is
Emeritus Professor at the University of East London. He is the
founding editor of The Commoner, a web journal that began to
problematise the role of the commons for radical transformation as
early as 2001. He is the author of several publications on crises,
governance, value, social revolution and the commons. His last two
books, Omnia Sunt Communia (2017) and The Beginning of History
(2007), develop a framework and a theory of hope that both
recognise the systemic patterns and horrors of capitalist
development and the ruptures and emergence of post-capitalist
systems based on struggles and the commons.
Nicholas De Genova
is Professor and Chair of the Department of Comparative Cultural
Studies at the University of Houston. He previously held teaching
appointments in urban and political geography at King's College
London, and in anthropology at Stanford, Columbia and Goldsmiths,
University of London, as well as visiting professorships or research
positions at the Universities of Warwick, Bern and Amsterdam. He is
the author of Working the Boundaries: Race, Space, and ‘Illegality’ in
Mexican Chicago (2005), co-author of Latino Crossings: Mexicans,
Puerto Ricans, and the Politics of Race and Citizenship (2003),
editor of Racial Transformations: Latinos and Asians Remaking the
United States (2006), co-editor of The Deportation Regime:
Sovereignty, Space, and the Freedom of Movement (2010), editor of
The Borders of ‘Europe': Autonomy of Migration, Tactics of Bordering
(2017) and co-editor of Roma Migrants in the European Union:
Un/Free Mobility (2019).
Alessandro De Giorgi
is Professor of Justice Studies at San Jose State University. He
received his PhD in Criminology from Keele University in 2005.
Before joining SJSU, he was a Research Fellow in Criminology at
the University of Bologna and a Visiting Scholar at the Center for the
Study of Law and Society, University of California Berkeley. His
research interests include critical theories of punishment and social
control, urban ethnography and radical political economy. He is the
author of the book Rethinking the Political Economy of Punishment:
Perspectives on Post-Fordism and Penal Politics (2006) as well as of
several articles in journals such as Punishment & Society,
Theoretical Criminology, Critical Criminology and Social Justice. His
most recent work is ethnographic research on the socioeconomic
dimensions of mass incarceration and prisoner re-entry in Oakland,
California.
Emma Dowling
is a sociologist and political scientist at the University of Vienna,
where she is Assistant Professor of Sociology. Previously, she held
academic positions in Germany and the UK. Her research interests
include social change, social movements, emotional and affective
labour, gender, care and social reproduction, financialisation and
feminist political economy. She has published in journals such as
Sociology, New Political Economy and Cultural Studies ↔ Critical
Methodologies, and she is the author of the monograph The Care
Crisis (2021).

Peter Drucker
has been a socialist feminist, anti-imperialist and LGBTIQ activist for
over 40 years in New York, San Francisco, Amsterdam and
Rotterdam. Trained as a historian (BA, Yale, 1979) and political
scientist (PhD, Columbia, 1993), he writes on Marxist and queer
theory. From 1993 to 2006 he was Co-Director of the Amsterdam-
based International Institute for Research and Education, and he is
still an IIRE Fellow and Lecturer. He is the author of Max
Shachtman: A Socialist Odyssey through the ‘American Century'
(1993) and Warped: Gay Normality and Queer Anti-Capitalism
(2015), and the editor of the anthology Different Rainbows (2000).
He has written for publications including Gay Community News,
Against the Current, International Viewpoint, Grenzeloos, New Left
Review, the Journal of European Studies, Development in Practice,
Historical Materialism, the Journal of Middle East Women's Studies,
Salvage, Rampant and Mediations. He helped initiate the Sexuality
and Political Economy Network.
Stefano Dughera,
economist, is Research Fellow (Postdoc) at the University of Turin,
Department of Economics and Statistics. His research lies at the
intersections of labour and institutional economics. He is co-author
with Carlo Vercellone of ‘Metamorphosis of the Theory of Value and
Becoming-Rent of Profit', in Cognitive Capitalism, Welfare and
Labour: The Commonfare Hypothesis (2019).
Steve Edwards
is Professor of History and Theory of Photography at Birkbeck,
University of London. His publications include The Making of English
Photography, Allegories (2006), Photography: A Very Short
Introduction (2006) and Martha Rosler: The Bowery in Two
Inadequate Descriptive Systems (2012). He is a member of the
editorial boards for the Oxford Art Journal and the Historical
Materialism book series as well as a convenor for the long-running
University of London research seminar Marxism in Culture. He is
currently working on a book on artist Allan Sekula with Gail Day and
completing a major study of early English photography.

David Fasenfest
is an Associate Professor of Sociology and Urban Affairs, College of
Liberal Arts and Sciences, Wayne State University, and the editor of
Critical Sociology and two book series, Studies in Critical Social
Science and New Scholarship in Political Economy, both with Brill.
His research focuses on inequality, urban development and
Marxism. He is the author of ‘Monsieur Le Capital and Madame La
Terre on the Brink’ (2017, with Penelope Ciancanelli, in Towards Just
and Sustainable Economies: Comparing Social and Solidarity
Economy in the North and South), ‘Marx, Marxism and Human
Rights’ (2016, Critical Sociology), ‘Marxist Sociology and Human
Rights’ (2013, in the Handbook of Sociology and Human Rights) and
Marx Matters (forthcoming, Brill).
Silvia Federici
is a feminist activist, teacher and writer. She was one of the founders
of the International Feminist Collective, the organisation that
launched the Campaign for Wages for Housework. She is the author
of books and essays on political philosophy, feminist theory, cultural
studies and education. Her published works include Caliban and the
Witch: Women, the Body and Primitive Accumulation (2004),
Revolution at Point Zero: Housework, Reproduction and Feminist
Struggle (2012) and Re-Enchanting the World: Feminism and the
Politics of the Commons (2018). She is Emerita Professor at Hofstra
University.
Roderick A. Ferguson
is the William Robertson Coe Professor of Women's, Gender and
Sexuality Studies and American Studies at Yale University. He
received his BA from Howard University and his PhD from the
University of California, San Diego. An interdisciplinary scholar, his
work traverses such fields as American studies, gender studies,
queer studies, cultural studies, African American Studies, sociology,
literature and education. He is the author of One-Dimensional Queer
(2019), We Demand: The University and Student Protests (2017),
The Reorder of Things: The University and Its Pedagogies of
Minority Difference (2012) and Aberrations in Black: Toward a Queer
of Color Critique (2004). He is co-editor with Grace Hong of the
anthology Strange Affinities: The Gender and Sexual Politics of
Comparative Racialization (2011). He is also co-editor with Erica
Edwards and Jeffrey Ogbar of Keywords of African American
Studies (2018).
Sue Ferguson
is a Marxist-Feminist scholar and activist and Associate Professor
Emerita at Wilfrid Laurier University and Adjunct Professor with the
Graduate School at Rutgers University. Her published work includes
articles on feminist theory, childhood and capitalism, and Canadian
political discourse. Her book, Women and Work: Social
Reproduction, Feminism and Labour was published in 2020 by Pluto
Press and has been translated to Spanish by Sylone/Viento Sur.
Ferguson is also a member of Faculty4Palestine and on the editorial
board of Midnight Sun.
Harrison Fluss
is a philosophy Professor at Manhattan College in New York City,
and a corresponding editor at Historical Materialism. He earned his
PhD in philosophy at Stony Brook University in New York,
specialising in German Idealism. He is the author of the book
Prometheus and Gaia: Technology, Ecology, and Anti-Humanism
(2021), and his writings have appeared in Left Voice, Jacobin,
Salvage and The New Republic.
Andrea Fumagalli
is an activist and Professor of Economics and History of Economic
Thought in the Department of Economics and Management at
University of Pavia and at Iuss-Pavia. He also teaches eco-social
economics at the Free University of Bolzano. He is a member of the
Effimera Network and a founder member of Bin-Italy (Basic Income
Network, Italy). His publications include The Crisis of the Global
Economy: Financial Markets, Social Struggles and New Political
Scenarios (2010, with S. Mezzadra), ‘Life Put to Work: Towards a
Theory of Life-Value’ (2011, with C. Morini, Ephemera), ‘Finance,
Austerity and Commonfare’ (2015, with S. Lucarelli, Theory, Culture
and Society), Economia politica del comune (2017) and Cognitive
Capitalism, Welfare and Labour: The Commonfare Hypothesis
(2019, with A. Giuliani, S. Lucarelli and C. Vercellone).

Verónica Gago
teaches political science at the Universidad de Buenos Aires and is
Professor of Sociology at the Instituto de Altos Estudios, Universidad
Nacional de San Martín. She is also Researcher at the National
Council of Research (CONICET). She is the author of Neoliberalism
from Below: Popular Pragmatics and Baroque Economies (2014,
2017) and International Feminist (2020), and she is co-author of A
Feminist Reading of Debt (2020, 2021). She coordinates the working
group Popular Economies: Theoretical and Practical Mapping at
Consejo Latinamericano Ciencias Sociales (CLACSO). She was part
of the militant research experience Colectivo Situaciones, and she is
now a member of the feminist collective Ni Una Menos.

Heide Gerstenberger
was Professor for the Theory of State and Society at the University
of Bremen. She is now retired. Her research, though covering a wide
range of topics, has centred on the development of capitalist states.
She was also engaged in the analysis of maritime labour. Her main
publications are Die subjektlose Gewalt. Theorie der Entstehung
Another random document with
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 rosas?
¿Qué dicen las dulces campanas al
viento?
..........................................
Pregunté a la tarde de abril que
moría:
¿Al fin la alegría se acerca a mi casa?
La tarde de abril sonrió: La alegría
pasó por tu puerta—y luego, sombría:
Pasó por tu puerta. Dos veces no pasa.

XLIV

El casco roído y verdoso

del viejo falucho
reposa en la arena...
la vela tronchada parece
que aún sueña en el sol y el mar.

El mar hierve y canta...

El mar es un sueño sonoro
bajo el sol de abril.
El mar hierve y ríe
con olas azules y espumas de leche y de plata,
el mar hierve y ríe
bajo el cielo azul.
El mar lactescente,
el mar rutilante,
que ríe en sus liras de plata sus risas azules...
Hierve y ríe el mar!...

El aire parece que duerme encantado

en la fúlgida niebla de sol blanquecino.
La gaviota palpita en el aire dormido, y al lento
volar soñoliento, se aleja y se pierde en la bruma del sol.
 XLV

El sueño bajo el sol que aturde y ciega,

tórrido sueño en la hora de arrebol;
el río luminoso el aire surca;
esplende la montaña;
la tarde es polvo y sol.

El sibilante caracol del viento

ronco dormita en el remoto alcor;
emerge el sueño ingrave en la palmera,
luego se enciende en el naranjo en flor.

La estúpida cigüeña
su garabato escribe en el sopor
del molino parado; el toro abate
sobre la hierba la testuz feroz.

La verde, quieta espuma del ramaje

efunde sobre el blanco paredón,
lejano, inerte, del jardín sombrío
dormido bajo el cielo fanfarrón.
.............................................................
Lejos, enfrente de la tarde roja,
refulge el ventanal del torreón.
.............................................................
HUMORISMOS, FANTASÍAS, APUNTES
LOS GRANDES INVENTOS

XLVI
LA NORIA

La tarde caía
triste y polvorienta.

El agua cantaba
su copla plebeya
en los cangilones
de la noria lenta.

Soñaba la mula
¡pobre mula vieja!
al compás de sombra
que en el agua suena.

La tarde caía
triste y polvorienta.

Yo no sé qué noble,
divino poeta,
unió a la amargura
de la eterna rueda,
 la dulce armonía
del agua que sueña
y vendó tus ojos,
¡pobre mula vieja!...

Mas sé que fué un noble,

divino poeta,
corazón maduro
de sombra y de ciencia.

XLVII
EL CADALSO

La aurora asomaba
lejana y siniestra.

El lienzo de Oriente
sangraba tragedias,
pintarrajeadas
con nubes grotescas.
......................................
...........
En la vieja plaza
de una vieja aldea,
erguía su horrible
pavura esquelética
el tosco patíbulo
de fresca madera...

La aurora asomaba
lejana y siniestra.

XLVIII
LAS MOSCAS
Vosotras, las familiares,
inevitables golosas,
vosotras, moscas vulgares,
me evocáis todas las cosas.

¡Oh, viejas moscas voraces

como abejas en abril,
viejas moscas pertinaces
sobre mi calva infantil!

¡Moscas del primer hastío

en el salón familiar,

las claras tardes de estío

en que yo empecé a soñar!

Y en la aborrecida escuela,
raudas moscas divertidas,
perseguidas
por amor de lo que vuela,

—que todo es volar—

sonoras,
rebotando en los cristales
en los días otoñales...
Moscas de todas las horas,

de infancia y adolescencia,
de mi juventud dorada;
de esta segunda inocencia,
que da en no creer nada,

de siempre... Moscas
vulgares,
que de puro familiares
no tendréis digno cantor:
yo sé que os habéis posado
 sobre el juguete encantado,
sobre el librote cerrado,
sobre la carta de amor,
sobre los párpados yertos
de los muertos...
Inevitables golosas,
que ni labráis como abejas,
ni brilláis cual mariposas;
pequeñitas, revoltosas,
vosotras, amigas viejas,
me evocáis todas las cosas.

XLIX
ELEGÍA DE UN MADRIGAL

Recuerdo que una tarde de soledad y

hastío,
¡oh tarde como tantas! el alma mía era,
bajo el azul monótono, un ancho y terso río
que ni tenía un pobre juncal en su ribera.

¡Oh mundo sin encanto, sentimental

inopia
que borra el misterioso azogue del cristal!
¡Oh el alma sin amores que el Universo
copia
con un irremediable bostezo universal!
....................................................
Quiso el poeta recordar a solas,
las ondas bien amadas, la luz de los
cabellos
que él llamaba en sus rimas rubias olas.
Leyó... La letra mata: no se acordaba de
ellos...
 Y un día—como tantos—al aspirar un día
aromas de una rosa que en el rosal se
abría,
brotó, como una llama la luz de los cabellos
que él en sus madrigales llamaba rubias
olas,
brotó, porque una aroma igual tuvieron
ellos...
Y se alejó en silencio para llorar a solas.

L
ACASO...
Como atento no más a mi quimera
no reparaba en torno mío, un día
me sorprendió la fértil primavera
que en todo el ancho campo sonreía.

Brotaban verdes hojas

de las hinchadas yemas del ramaje,
y flores amarillas, blancas, rojas,
variolaban la mancha del paisaje.

Y era una lluvia de saetas de oro,

el sol sobre las frondas juveniles;
del amplio río en el caudal sonoro
se miraban los álamos gentiles.

Tras de tanto camino es la primera

vez que miro brotar la primavera,
dije, y después, declamatoriamente:

—¡Cuán tarde ya para la dicha mía!—

Y luego, al caminar, como quien siente
alas de otra ilusión:—Y todavía
¡yo alcanzaré mi juventud un día!
 LI
JARDÍN

Lejos de tu jardín quema la tarde

inciensos de oro en purpurinas llamas,
tras el bosque de cobre y de ceniza.
En tu jardín hay dalias.
¡Malhaya tu jardín!... Hoy me parece
la obra de un peluquero,
con esa pobre palmerilla enana,
y ese cuadro de mirtos recortados...
y el naranjito en su tonel... El agua
de la fuente de piedra
no cesa de reir sobre la concha blanca.

LII
FANTASÍA DE UNA NOCHE DE ABRIL

¿Sevilla?... ¿Granada?... La noche de luna.

Angosta la calle, revuelta y moruna,
de blancas paredes y obscuras ventanas.
Cerrados postigos, corridas persianas...
El cielo vestía su gasa de abril.

Un vino risueño me dijo el camino.

Yo escucho los áureos consejos del vino,
que el vino es a veces escala de ensueño.
Abril y la noche y el vino risueño
cantaron en coro su salmo de amor.

La calle copiaba, con sombra en el muro,

el paso fantasma y el sueño maduro
de apuesto embozado, galán caballero:
espada tendida, calado sombrero...
La luna vertía su blanco soñar.

Como un laberinto mi sueño torcía

de calle en calleja. Mi sombra seguía
de aquel laberinto la sierpe encantada,
en pos de una oculta plazuela cerrada.
La luna lloraba su dulce blancor.

La casa y la clara ventana florida,

de blancos jazmines y nardos prendida,
más blanco que el blanco soñar de la luna...
—Señora, la hora, tal vez importuna...
¿Qué espere? (La dueña se lleva el candil).

Ya sé que sería quimera, señora,

mi sombra galante buscando a la aurora
en noche de estrellas y luna, si fuera
mentira la blanca nocturna quimera
que usurpa a la luna su trono de luz.

¡Oh dulce señora, más cándida y bella

que la solitaria matutina estrella
tan clara en el cielo! ¿por qué silenciosa
oís mi nocturna querella amorosa?
¿Quién hizo, señora, cristal vuestra voz?...

La blanca quimera, parece que sueña.

Acecha en la oscura estancia la dueña.
—Señora, si acaso otra sombra emboscada
teméis, en la sombra, fiad en mi espada...
Mi espada se ha visto a la luna brillar.

¿Acaso os parece mi gesto anacrónico?

El vuestro es, señora, sobrado lacónico.
¿Acaso os asombra mi sombra embozada,
de espada tendida y toca plumada?...
¿Seréis la cautiva del moro Gazul?...

Dijéraislo, y pronto mi amor os diría

el son de mi guzla y la algarabía
más dulce que oyera ventana moruna.
Mi guzla os dijera la noche de luna,
la noche de cándida luna de abril.

Dijera la clara cantiga de plata

del patio moruno, y la serenata
que lleva el aroma de floridas preces
a los miradores y a los ajimeces,
los salmos de un blanco fantasma lunar.

Dijera las danzas de trenzas lascivas,

las muelles cadencias de ensueños, las vivas
centellas de lánguidos rostros velados,
los tibios perfumes, los huertos cerrados;
dijera el aroma letal del harén.

Yo guardo, señora, en mi viejo salterio

también una copla de blanco misterio,
la copla más suave, más dulce y más sabia
que evoca las claras estrellas de Arabia
y aromas de un moro jardín andaluz.

Silencio... En la noche la paz de la luna

alumbra la blanca ventana moruna.
Silencio... Es el musgo que brota y la hiedra
que lenta desgarra la tapia de piedra...
El llanto que vierte la luna de abril.

—Si sois una sombra de la primavera,

blanca entre jazmines, o antigua quimera
soñada, en las trovas de dulces cantores,
yo soy una sombra de viejos cantares,
y el signo de un álgebra viejo de amores.

Los gayos, lascivos decires mejores,

los árabes albos nocturnos soñares,
las coplas mundanas, los salmos talares,
poned en mis labios;
yo soy una sombra también del amor.

Ya muerta la luna, mi sueño volvía

por la retorcida, moruna calleja.
El sol en Oriente reía
su risa más vieja.

LIII
A UN NARANJO Y A UN LIMONERO
vistos en una tienda de plantas y
flores

Naranjo en maceta, ¡qué triste es tu suerte!

medrosas tiritan tus hojas menguadas.
Naranjo en la corte, qué pena da verte
con tus naranjitas secas y arrugadas.

Pobre limonero de fruto amarillo

cual pomo pulido de pálida cera,
¡qué pena mirarte, mísero arbolillo
criado en mezquino tonel de madera!

De los claros bosques de la Andalucía,

¿quién os trajo a esta castellana tierra
que barren los vientos de la adusta sierra,
hijos de los campos de la tierra mía?

¡Gloria de los huertos, árbol limonero,

que enciendes los frutos de pálido oro
y alumbras del negro cipresal austero
las quietas plegarlas erguidas en coro;

y fresco naranjo del patio querido,

del campo risueño y el huerto soñado,
siempre en mi recuerdo maduro o florido
de frondas y aromas y frutos cargado!

LIV
LOS SUEÑOS MALOS

Está la plaza sombría,

muere el día.
Suenan lejos las campanas.

De balcones y ventanas
se iluminan las vidrieras,
con reflejos mortecinos,
como huesos blanquecinos
y borrosas calaveras.

En toda la tarde brilla

una luz de pesadilla.
Está el sol en el ocaso.
Suena el eco de mi paso.

—¿Eres tú? Ya te esperaba...

—No eras tú a quien yo buscaba.

LV
HASTÍO

Pasan las horas de hastío

por la estancia familiar,
el pobre cuarto sombrío
donde yo empecé a soñar.

Del reloj arrinconado,

que en la penumbra clarea,
el tic-tac acompasado
odiosamente golpea.
 Dice la monotonía
del agua clara al caer:
un día es como otro día;
hoy es lo mismo que ayer.

Cae la tarde. El viento agita

el parque mustio y dorado...
¡Qué largamente ha llorado
toda la fronda marchita!

LVI

Sonaba el reloj la una

dentro de mi cuarto. Era
triste la noche. La luna,
reluciente calavera,

ya del cénit declinando,

iba del ciprés del huerto
fríamente iluminando
el alto ramaje yerto.

Por la entreabierta ventana,

llegaban a mis oídos,
metálicos alaridos
de una música lejana.

Una música tristona,

una mazurca olvidada,
entre inocente y burlona,
mal tañida y mal soplada.

Y yo sentí el estupor
del alma cuando bosteza,
el corazón, la cabeza,
y... morirse es lo mejor.

LVII
CONSEJOS
I

Este amor que quiere ser

acaso pronto será;
pero ¿cuándo ha de volver
lo que acaba de pasar?

Hoy dista mucho de ayer.

¡Ayer es Nunca jamás!

LVIII
II

Moneda que está en la mano

quizá se deba guardar;
pero la que está en el alma
se pierde si no se da.

LIX
GLOSA

Nuestras vidas son los ríos

que van a dar a la mar,
que es el morir. ¡Gran cantar!

Entre los poetas míos

tiene Manrique un altar.

Dulce goce de vivir:

mala ciencia del pasar,
ciego huir a la mar.

Tras el pavor del morir

está el placer de llegar.

¡Gran placer!
Mas ¿y el horror de volver?
¡Gran pesar!

LX

Anoche cuando dormía

soñé ¡bendita ilusión!
que una fontana fluía
dentro de mi corazón.
Dí, ¿por qué acequia
escondida,
agua, vienes hasta mí,
manantial de nueva vida
en donde nunca bebí.

Anoche cuando dormía

soñé ¡bendita ilusión!
que una colmena tenía
dentro de mi corazón;
y las doradas abejas
iban fabricando en él,
con las amarguras viejas
blanca cera y dulce miel.

Anoche cuando dormía

soñé ¡bendita ilusión!
que un ardiente sol lucía
dentro de mi corazón.
Era ardiente porque daba
calores de rojo hogar,
y era sol porque alumbraba
y porque hacía llorar.

Anoche cuando dormía

soñé ¡bendita ilusión!
que era Dios lo que tenía
dentro de mi corazón.

LXI

¿Mi corazón se ha dormido?

Colmenares de mis sueños
¿ya no labráis? ¿Está seca
la noria del pensamiento,
los cangilones vacíos,
girando, de sombra llenos?

No, mi corazón no duerme.

Está despierto, despierto.
Ni duerme ni sueña, mira,
los claros ojos abiertos,
señas lejanas y escucha
a orillas del gran silencio.
 GALERÍAS

INTRODUCCIÓN

Leyendo un claro día

mis bien amados versos,
he visto en el profundo
espejo de mis sueños

que una verdad divina

temblando está de miedo,
y es una flor que quiere
echar su aroma al viento.

El alma del poeta

se orienta hacia el misterio.
Sólo el poeta puede
mirar lo que está lejos
dentro del alma, en turbio
y mago son envuelto.

En esas galerías,
sin fondo del recuerdo,
donde las pobres gentes
colgaron cual trofeo

el traje de una fiesta

apolillado y viejo,
 allí el poeta sabe
el laborar eterno
mirar de las doradas
abejas de los sueños.

Poetas, con el alma

atenta al hondo cielo,
en la cruel batalla
o en el tranquilo huerto,

la nueva miel labramos

con los dolores viejos,
la veste blanca y pura
pacientemente hacemos,
y bajo el sol bruñimos
el fuerte arnés de hierro.

El alma que no sueña,

el enemigo espejo,
proyecta nuestra imagen
con un perfil grotesco.

Sentimos una ola

de sangre, en nuestro pecho,
que pasa... y sonreímos,
y a laborar volvemos.

LXII

Desgarrada la nube; el arco iris

brillando ya en el cielo,
y en un fanal de lluvia
y sol el campo envuelto.

Desperté. ¿Quién enturbia

los mágicos cristales de mi sueño?
 Mi corazón latía
atónito y disperso.

... ¡El limonar florido,

el cipresal del huerto,
el prado verde, el sol, el agua, el iris...
¡el agua en tus cabellos!...

Y todo en la memoria se perdía

como una pompa de jabón al viento.

LXIII

Y era el demonio de mi sueño, el ángel

más hermoso. Brillaban
como aceros los ojos victoriosos,
y las sangrientas llamas
de su antorcha alumbraron
la honda cripta del alma.

—¿Vendrás conmigo?—No, jamás; las

tumbas
y los muertos me espantan.
Pero la férrea mano
mi diestra atenazaba.

—Vendrás conmigo... Y avancé en mi

sueño
cegado por la roja luminaria.
Y en la cripta sentí sonar cadenas
y rebullir de fieras enjauladas.

LXIV

Desde el umbral de un sueño me llamaron...

Era la buena voz, la voz querida.
 —¿Dime: vendrás conmigo a ver el alma?...
Llegó a mi corazón una caricia.

—Contigo siempre... Y avancé en mi sueño

por una larga, escueta galería,
sintiendo el roce de la vesta pura
y el palpitar suave de la mano amiga.

LXV
SUEÑO INFANTIL

Una clara noche

de fiesta y de luna,
noche de mis sueños,
noche de alegría,

—era luz mi alma

que hoy es bruma toda,
no eran mis cabellos
negros todavía—

el hada más joven

me llevó en sus brazos
a la alegre fiesta
que en la plaza ardía.

So el chisporroteo
de las luminarias,
amor sus madejas
de danzas tejía.

Y en aquella noche
de fiesta y de luna,
noche de mis sueños
noche de alegría,