Jessica Sequeira’s books of poetry, novels, and essays include Taal
(Pamenar Press, 2024; Pez Espiral 2024), Chacal Dorado / Golden Jackal,
tr Diego Alegría (Buenos Aires Poetry, 2022), A Luminous History of the Palm
(Sublunary Editions, 2020), Other Paradises: Poetic Approaches to Thinking
in a Technological Age, tr Felipe Orellana (Zero, 2018), Otros paraísos
(Editorial Aparte, 2020), A Furious Oyster (Dostoyevsky Wannabe, 2018),
and Rhombus and Oval (What Books, 2017). She has translated more than
thirty books by Latin American authors, including Augusto Monterroso, Daniel
Guebel and Winétt de Rokha. She holds a PhD in Latin American Studies from the
University of Cambridge and is currently a postdoctoral researcher at the
Center for Asian Studies / Institute of History of the Pontifical Catholic
University of Chile, studying the influence of India and China on Chilean
poetry and music. She also is a member of the band Lux Violeta.
1 - How did your first
book change your life? How does your most recent work compare to your previous?
How does it feel different?
I wrote my first book (Rhombus and Oval) in
Buenos Aires, under the influence of a certain poetic mixture of narrative, non-fiction
and fantastical literature. It is a very Latin American book that happens to be
written in English. It "changed my life" in the sense that my
identity was already that of a writer, specifically a poet, because I'd
published things in magazines, and was an editor and translator of books, and above
all, was an obsessive reader (which can make you believe you are the writer of everything
you read). But now I had a book to my name. I'm very fond of it but not overly
attached. Many people I knew in Argentina thought about the "work"
more than specific books, and I think that I always have, too. A book reflects
a certain moment in time, and if you keep writing books, you will have a work.
There's no need to become anguished over creating a great monumental
worldchanging text as some people do, thus blocking themselves from creating.
Probably most masterpieces are created by accident, in the sense of emerging
from intentional artistic decisions at a moment that could not have been
anticipated.
I've never cared too much about genre divisions,
and love writing that moves freely between poetry and essay, incorporating
visual elements and music. I'm now making songs with poetic lyrics,
experimenting with conceptual art, playing with rhythm . . . My most recent
book Taal is explicitly musical. "Taal" refers to the rhythmic
cycle in Indian music. But it also refers to Gabriela Mistral's book Tala,
which plays on the Spanish meaning of the word talar, to cut down a
tree, and furthermore is a nod to the Chilean poet's interest in India.
The difference between the first book and now? I'm
an older person, with more experiences, happy and otherwise. And I'm in Chile,
and don't think of leaving—I consider myself to be a Chilean-Indian diaspora-noneoftheabove
poet, in deep engagement with local sounds, speech patterns, folkloric
traditions and history.
2 - How did you come
to poetry first, as opposed to, say, fiction or non-fiction?
Poetry is at the heart of everything for me, as a
form of personal expression and a way of speaking with communities of poetic existence
past and present. An anthology called A Book of Luminous Things, edited
by Czeslaw Milosz, was formative for me, along with
a bilingual edition of Enrique Lihn's La pieza oscura, Jean-Paul
Sartre's Les mots, the novellas of Clarice Lispector, and many other
books, but also the poetic lyrics of countless singer-songwriters. Quite early on,
I discovered both poetry and translation, and the playful possibilities of
words in relation to emotion, which remain vital. For me, fiction and
non-fiction emerge from the same profoundly lyrical impulse—of course poetry
doesn't have to be lyrical, but what I write tends to be.
3 - How long does it
take to start any particular writing project? Does your writing initially come
quickly, or is it a slow process? Do first drafts appear looking close to their
final shape, or does your work come out of copious notes?
I usually start from an idea, sometimes narrative, other
times imagistic or musical. Concepts like a palm tree, or a passage of music, or
the idea of dignity, go about developing secondary, tertiary, polyphonic
associations. The initial thought comes quickly and develops at the back of the
mind, assembling through notes over months. Which isn't to say that I'm always
writing. But even at times of pure being or experimentation, there are ideas
that can relax, unfold, develop. I like the moments when speculation pushes the
boundaries of reason.
4 - Where does a poem
or work of fiction usually begin for you? Are you an author of short pieces
that end up combining into a larger project, or are you working on a
"book" from the very beginning?
I've worked both ways. As I said, usually I start from
an idea, which can be quite broad, with what emerges along the way a surprise. If I gather miscellaneous texts, I try to give them
a meaningful sedimentation and narrative flow. Since I write a lot of book
reviews and criticism, if I want to turn those into a book, by nature it will
be a poetic exercise to give these eclectic texts a unifying label. Usually
it's the other way around.
5 - Are public
readings part of or counter to your creative process? Are you the sort of
writer who enjoys doing readings?
Yes, I really love public readings and performances!
Of poetry and music. There's a theatrical element to it all that is so
enjoyable. I'm fascinated by the possibilities of the "performing
arts", and the ways that the same text or song can take on different
meanings and textures in different places and contexts. I've written pieces in
response to a "pie forzado", or prompt. The opposite case has also
been true; I've found new ways of understanding existing texts by reading or
singing or playing them in front of others.
In the past few years, I have turned more toward
music—I am part of a trio that composes songs on the basis of poems, most of
them from Latin America and Asia—and am more attentive to this element. But
I've always been attracted to the composition of written works for contexts I
wouldn't have thought of myself, and to performance poetry. Relatedly, I also
really love to collaborate.
6 - Do you have any
theoretical concerns behind your writing? What kinds of questions are you
trying to answer with your work? What do you even think the current questions
are?
The world is full of violence, suffering and a lack
of compassion. I don't have an easy answer about what poetry should be or do,
or what the current questions are. Poetry is perhaps a special kind of attention
that takes the time to lovingly explore aspects of life and culture that escape
the daily news cycle, and a means of connecting with other human beings
different from oneself, with shared concerns.
For myself, the act of writing, language as a verb,
helps me to form thoughts and express emotions that I wouldn't have otherwise,
not necessarily about my own life. Paradoxically, I often best understand
myself by reading, writing or imagining myself as other selves—getting out of
this limited skin. I also enjoy reading others' work to enter into other forms
of knowing and feeling, other social worlds. All this is a necessity, something
integral to my existence. Acts of imagination and associations happen in poetic
writing in very specific ways, using parts of the brain that would not
otherwise be activated.
Of course, writing often has preoccupations that
connect to worlds beyond the text. I am interested in the power of art to
change emotions, the influence of historical colonial processes, and the ways that
certain ideas like "dignity" change and transform across contexts. I also
enjoy the work of many writers with more specific projects, like Jacinta Kerketta, who shows the inner lives of the Advasi community in Jharkand where
she grew up, and the resource extractions inflicted upon this community in the
name of progress. The journey, the anecdotes, the pleasure in language, and the
connection between inner self and outer landscape remain at the centre of the
work. Journalistic writing can often present a good complement to poetry as a
space to present more urgent and linear arguments.
7 – What do you see the
current role of the writer being in larger culture? Do they even have one? What
do you think the role of the writer should be?
I think making any kind of art is a vulnerable
process where you are showing deep parts of yourself to others, even if you
aren't talking directly about your own experiences. I don't have any grand
claims about the moral power of writing to improve the world, and the
experience of making and experiencing art often happens in solitude. But in
poetry communities and art communities more generally, I've found so many
lovely creative people and friendships that I really treasure, which give me a
sense of hope and joy. Humor, playfulness and just letting your hair down are
so important. Creating feeling doesn't have to mean writing saccharine things,
but making work that conveys a depth of thought and emotion, entrusting it to
others in spaces where creativity and meaningful conversation exist, and in
turn receiving others' creations and giving them time.
8 - Do you find the
process of working with an outside editor difficult or essential (or both)?
I love working with editors who offer sensitive,
thoughtful suggestions. Of course there are butchers out there, and people who
limit themselves to copyediting. Those with advice for good structural edits
are rare and precious.
9 - What is the best
piece of advice you've heard (not necessarily given to you directly)?
"Attention, taken to its highest degree, is the same
thing as prayer", the Simone Weil quote, often comes into my mind. The
idea seems related to fanaa, the Sufi idea of self-annihilation. When
things don't work for some reason, it tends to be an issue of dispersion or
distraction, a lack of care for something or someone. True attention can
require consciously putting other things aside to achieve a certain level of
dedication, permitting oneself to be absorbed in what is not the self.
10 - How easy has it
been for you to move between genres (poetry to fiction to translation to
non-fiction)? What do you see as the appeal?
Oh, I think it's easy to move between styles. Life,
experience and thought work like that—sometimes they exist more in sounds, other
times in images or words. Art perhaps accompanies these emotional and cognitive
processes, and to mix styles is an appealing way of conveying different modes
of understanding.
11 - What kind of
writing routine do you tend to keep, or do you even have one? How does a
typical day (for you) begin?
I don't have a routine. I'm always writing, in the
sense of taking notes and developing ideas, whether that be at 2pm or 2am.
Which also means that I'm also always not-writing. There is no fixed hour to do
this or that, even if every day I make something. Academic funding and
freelance translation work have given me the opportunity for unbroken blocks of
solitude, for which I am very grateful, and the ability to absorb myself deeply
in whatever project I am working on.
12 - When your writing
gets stalled, where do you turn or return for (for lack of a better word)
inspiration?
Inspiration comes from everywhere. I don't believe
in that idea of the blank page, because if you are reading, studying, talking
to people, and playing with other forms of art the possibilities are endless. I
especially love talking with creative friends who are excited about their own
discoveries and ideas, and transmit that enthusiasm. Collaborative work is also
exciting because ideas emerge that couldn't have come from a person on their
own.
13 - What fragrance
reminds you of home?
The pungent coconut oil my aunt (father's sister) used
in her hair has a very particular set of associations for me. Now in Chile,
which has been home for over a decade, I have to mention merkén and the scent
of blooming jasmines in summer, and the smell of the excellent Negronis
prepared by my local barman.
14 - David W. McFadden
once said that books come from books, but are there any other forms that
influence your work, whether nature, music, science or visual art?
I think the obvious answer is music. Especially vocal
music by poets of the world's folkloric and rock songwriting traditions, and instrumental
music from South Asia and Latin America, along with jazz.
15 - What other
writers or writings are important for your work, or simply your life outside of
your work?
In Santiago, Chile there is a very strong community
of writers, musicians and artists, in which I form part and which always
inspires me to keep working and collaborating with others. This is just as
important to me as the books I read. I truly believe in the importance of the
living tradition, of keeping poetry alive through current interpretation and
conversation.
The internet has been important in discovering the
work of writers from other places. Nowadays social media is more politically
fraught and I've stopped participating so much on twitter and other platforms.
I hope there is a way for a dynamic of kindness and curiosity about other
people's work to continue to exist internationally, as it does in the city
where I live.
16 - What would you
like to do that you haven't yet done?
I would like to write a kind of inverted biography
of Fernão de Magalhães (Ferdinand Magellan), the Portuguese explorer, not talking
about him directly but rather about the places he visited, and the communities
that received the influence of Portuguese influence in India and South America.
He would be a kind of ghost inside the book with the focus turned to the sounds
and stories of other less famous people.
I also want to record an album of songs with my own
poetic lyrics—until now I have worked with lyrics by other poets such as
Gabriela Mistral, Stella Díaz Varín and Pedro Lemebel. It is such a pleasure to
find the music in the poetry of others, a pleasure very much analogous for me
to the pleasures of literary translation. But I'd like to try out my own poems
too and see what happens.
Also, I want to continue publishing more books of
poems and novels, and improving my abilities as a tabla player and singer. The
poem is, for me, always a "canto".
17 - If you could pick
any other occupation to attempt, what would it be? Or, alternately, what do you
think you would have ended up doing had you not been a writer?
Like many of us, I already do practice other
occupations. My day jobs are postdoctoral researcher at a university, and
literary translator. I also make music. To answer your question—and maybe it
will happen—I can imagine myself plunging into the musical life more completely.
Writing, but with the rhythms and textures of music. Violeta Parra, Akiko Yano,
Flora Purim, Elizabeth Fraser, Jeff Buckley, Victor Jara, Mercedes Sosa, Lata
Mangeshkar, Joni Mitchell and so many others are people I admire very much. And
their lyrics are poetry. Instrumental music can also speak. I think of people
like Anoushka Shankar and Keith Jarrett, or above all, the truly great tabla
player maestro Ustad Zakir Hussain.
18 - What made you
write, as opposed to doing something else?
As I said, I do other things too. I will say that
writing has tended to be the most complete way to give my thoughts and feelings
expression. To create a poetic narrative, and really work on the precision of
language and structure, helps make sense of so many things, even if the
material isn't autobiographical. This is perhaps because I was trained in a
verbal and analytical tradition, and lack the tools still to express myself as
completely in other arts.
19 - What was the last
great book you read? What was the last great film?
The word "great" rears up like a specter
before me. I'll tell you two things I just read and watched, both of which I
recommend. The last book was Manto azul, poems by Verónica Zondek based on
the history of the Valdivian gold mine Madre de Dios, told from several voices.
The last film was a short documentary by Indranil Chakravarty of the Konkani-language writer Damodar Mauzo, which is on YouTube.
20 - What are you
currently working on?
I am working on several things. One is a book for
Bloomsbury on the basis of my doctoral thesis, about the influence of India on nine
Latin American writers. Also, I am finishing up a few books of poetry,
including a set of poems that dance around the history of Chinese slave labour
in the north of Chile and Perú, and another set of poems texts written in
response to music. Some interesting translations are in the works— you'll see
another Argentine novel soon . . . And
my group Lux Violeta is working on a new album of music. I could keep going, but
now I have to get to work on all this! Thank you for the questions, rob.
12 or 20 (second series) questions;
.png)
