Reseña de Haikus Bilardo (Muerde Muertos, 2014), de Fernando Figueras y José María Marcos, con ilustraciones de Matías Berneman, por Yago S. Cura en Hinchas de Poesía (*)
During the
1986 and 1990 F IFA World Cups, Carlos Salvador Bilardo was the Icarus millions of Argentines
pinned their little pieces of wax to-even as they badmouthed his impetuous
squads. Currently, Bilardo is the general manager of Argentina ’s
National Teams, but he was also the steward of Argentina ’s Golden Age of Fútbol. At
this point, Bilardo is more than a soccerlegend: he is the nadir other legends
point to. Bilardo holds several degrees in medicine, and was a practicing
Gynecologist; but, he gave up his aspirations in those “fields” when they got
in the way of his coaching. He is an all-in or not-in-at-all kind of guy. This
might explain what inspired Fernando Figueras and José María Marcos to use
Bilardo’s organization of players —“three denfensemen, five midfielders, and two
strikers” (“Prologue”)— during the 1986 World Cup to create a new poetic form:
one that can insinuate the unsayable like haikus can, but that can also
recollect and espouse in sparse, tart syllables. In their book, Haikus Bilardo
(Editorial Muerde Muertos, 2013), Fernando Figueras and José María Marcos court
the circuitous aftertaste haikus proffer as a form, and capsule (of Poetry). Possibly,
they are lauding Bilardo as some Dr. Xavier in a Sumo diaper with aspirations
of Global Fútbol Domination.
Merriam
Webster’s Encyclopedia of Literature defines haikus as poems of “17 syllables
arranged in three lines containing five, seven, and five syllables,
respectively.” What Figueras and Marcos have done is replace the 5-7-5 of
traditional haikus with the 3-5-2 player formation used by Bilardo’s 1986
squad. In doing so, they have re-appropriated the ancient, and made it keen. With
this book, Figueras and Marcos rig the engine of an Acura NSX into the chassis
of a combustion-engine rickshaw; they soup-up the architecture of haikus to
suit their needs, and fulfill their historical, emotive aim. Haikus Bilardo are
a collection of poems ballasted by the historical documents, non-fiction
reportage, and biographies that were born as a result of the swag Argentina
garnered as a result of the 1986 and 1990 World Cups.
These
souped-up poems are rooted in the childhood conjectures of Figueras and Marcos,
the popular memoirs of Diego Maradona (Yo Soy el Diego/ I am the Diego) and
Carlos Salvador Bilardo (Así ganamos/ That’s How We Won). There are also quotes
from veteran journalists like Juvenal of El Gráfico, Argentina’s newspaper
daily, the pixilated wisdom of ESPN docs like Pura Química (Pure Chemistry),
and respected Argentine writers like Fernando del Rio ,
Osvaldo Soriano, and Juan José Burzi. In terms of genre, Haikus Bilardo are
pastiched from accurate reportage to World Cup lore. After (Argentina ) losing to Camerún in the 1990 World
Cup, (and I’m quoting from the book here) Bilardo is known for having said,
“Gentlemen, either we get to the finals or pray the plane crashes when we go
back to Argentina .”
Quotes like these are not part of the poetry —they are not recognized as
poetic— and part of the “ride” or “pedo” of this collection of futbol poetry is
to contextualize the passion without didacticism or sensationalism.
For
example, “Corea del Sur/ South Korea” documents that particular match which
transpired on the 2nd of June, 1986, and ended Argentina 3, South Korea 1; and,
“Valdano,/ ¡derecehazo al/ fondo!” makes particular reference to Argentina ’s
first goal, a right-legged, barrel-down goal executed by Valdano in the first
six minutes of the match. In this way, the intricate collection, comprised of
haikus sutured together comment gazingly on Bilardo’s reputation as an idolized
coach of men of great talent like Maradona, Burruchaga, Batistuta, but they
also reconstruct the matches, textually, reflecting on quotes originally
written about the match by journalists covering the matches. These poems are
not pastoral, and they don’t rely on any lyrical qualities per se but they do
packmule whole arenas of hinting and subtle inference that make this
traditional Japanese form so popular.
Haikus are
suggestive dynamos, and a gateway form for other registers like free verse or
Tankas. 4th graders and octogenarians alike can dabble in haikus, knowing full
well that their powers of inference, conjecture, and analysis are going to be
engaged; moreover, we still force college freshmen to read about those black
petals resembling faces in the Metro, disavowing haikus in the original
language by Bashō or Issa, as if the suggestive penchant of that Pound poem
somehow encapsulated all of 20th Century Poetry. These poems find their
inspiration in Argentina ’s
World Cup performances in 1986 (in which no one believed in them and they won
the World Cup) and 1990 (in which they were favored but lost to Germany ) but
they speak to the fanatic in us all. Haikus Bilardo is illustrated by Matias
Berneman, and this offers an interesting counterpoint to the words on the page.
Some of the illustrations are a little too abstract for my taste, but many
delineate the subtext or illuminate signs and symbols used in the World Cups,
like Pique, the mascot for the 1986 World Cup in Mexico that is clearly a chile
verde with a mariachi sombrero, and a futbol at his right foot.
This title
is perfect for libraries that have a hale Spanish poetry collection; however,
this title might be at home as well in a Latin American History college class,
or any arena where politics, history, and sport merge or intersect. Last, this
title might really come in handy in a collection used by Latino poets as it
documents the creation of a new form, or something heretofore not in existence,
and looking to freely associate. I think this title might even be useful to Spanish
language students as it not only recounts the history of the World Cup for Argentina , but
indexes hard to pronounce and idiosyncratic Latin American names like
Burruchaga or Pasculli. Obviously, the most juice you could squeeze from Haikus
Bilardo might involve reading it against Galeano’s Soccer in Sun and Shade or
any short stories by Sorriano.
(*) Publicado en Julio de 2014.
Corea del Sur
by Fernando Figueras & José María Marcos
from Haikus Bilardo
Bilardo,
pasión, locura,
mística.
Pumpido,
Garré, Ruggeri,
Clausen,
Batista,
el Tata, Burru,
Giusti,
Pasculli,
el Valdagoles,
Diego.
Corea,
siglos de ciencia,
arte.
Temor
incertidumbre
nervios.
Valdano,
¡derechazo al
fondo!
Karate
contra Rey Diego,
furia.
Ruggeri,
letal cabeza,
¡capo!
Valdano
mete el tercero;
calma.
De lejos,
la rabia roja:
gólpark.
Fin. Viene
Italia; fe
sobra.
South Korea
translated
by Yago S. Cura
Bilardo,
Passion,
pure madness,
mythic.
Pumpido,
Garré, Ruggeri,
Clausen,
Batista,
El Tata, Burru,
Giusti,
Pasculli,
valiant
striker,
Diego.
decades of
Science,
the Arts.
Real, real
fear[,]
all
variables
and nerves.
Valdano,
forehand
directly
down
throat!
Karate
against
King Diego
fury.
Ruggeri,
lethal-steel
header,
the Don!
Valdano,
buries the
third goal:
then, calm.
From afar,
the red
wrath of rage:
gólpark
The end
comes.
spilleth.
Uruguay
by Fernando Figueras & José María Marcos
from Haikus Bilardo
Tenían
un gran arquero
que era
un muro
vestido de
Álvez
Sacaba
todos los tiros
nuestros.
Pero una…
quedose en el
área…
y Pedro
Pablo chumbó
bajo.
¡Pasculli,
goleador
grosso!
¿Y si
nos meten uno?
¡Fritos!
Mas no,
Uruguay no hace
goles.
¡Que el triunfo
sea pues del
verso!
Mirá,
las cosas cómo
fueron:
ganamos
un duelo de
guapos,
a días
del adiós a
Borges.
Uruguay
translated by Yago S. Cura
They had a
mythical
goalie
that was
solid wall
fly and
dressed to nines:
Álvez.
He would
clear
all our
weak, tired
soft shots.
Except one…
that
lingered in the…
area…
and Pedro
Pablo
bulleted
real low.
Pasculli
robust goal
maker,
robust!
And if they
Score on
one on us?
We’re
fried!
More no
way,
goals,
nope.
May triumph
come from
the lips of
verses!
Look.
Learn,
things[,]
how they ended up[.]
There
were[…]
we won
a duel
between
tough guys
in the days
of scant
goodbyes to
Borges.Alemania
by Fernando Figueras & José María Marcos
from Haikus Bilardo
Celestes,
verdes, delirio,
gritos.
Azteca,
cancha jamás
nunca.
Equipo
de Rummenigge,
duro.
Un centro
de Burru, ¡gol
Tata!
Enrique,
Diego, Valdano,
brillo.
Dos centros,
dos goles verdes,
llanto.
El sueño
se desvanece,
Diego.
¿Por qué
nos dejaste, oh,
padre?
Que se
agriete el mar
rojo.
¡La magia
de Dios y gol
Burru!
¡Equipo
campeón del
mundo!
¡Bilardo,
Argentina, oh,
haikus!
Germany
translated by Yago S. Cura
Baby blues,
greens, delirium,
shouts.
Azteca
stadium never been
nevered.
Team
Rummenigge,
damn tough.
A center
from Burru, a goal
from Tata!
Enrique,
Diego, Valdano
shinning.
Two centers,
two green goals,
loud sobs.
The dream keeps
withering away,
Diego.
Why have you
forsaken us father?
Father?
May the Red
Sea croak with tartness
and Red.
The magic
of god and goals Burru[.]
Burru!
The very squad[,]
champions of the world!
The world!
Bilardo,
Argentina, oh,
haikus!