Oftentimes, when I go to a poetry reading to showcase or read aloud my work, I introduce myself as a transdisciplinary writer and educator. "But what is a transdisciplinary writer or a transdisciplinary poet, for that matter?" you may ask. 

A transdisciplinary poet, in a nutshell, is a poet who works across and beyond the boundaries of different disciplines. Those disciplines can be art, science, philosophy, ecology, or social science, to name just a few. The transdisciplinary poet may use various forms, media, languages, and modes of expression to create poetry that explores complex and emergent issues. They may also collaborate with other poets, artists, and practitioners from different disciplines and backgrounds to create interdisciplinary and cross-cultural dialogues that, ultimately, become poetic projects.

And if you are wondering about the difference between interdisciplinary and transdisciplinary, well, it is quite easy. The former keeps the boundaries of each discipline intact, looking for connections that can enrich each field. While simply put, the latter seeks to transcend the norms of individual disciplines to create new knowledge. 

There are several examples out there for transdisciplinary poetry, and I will make sure to list those at the end of this post -or if you are bored already, you can skip to that; don't worry, I won't take it personally, I get easily bored too.

In my personal work, and for those who know me without the need to stick your nose into my CV, some examples of transdisciplinary poetry practices are my performances, sometimes aiming closer to the visual arts, like "El poema" (1), and others, falling more along the lines of a play, such as "Esto no es un huevo es la muerte de la gallina" (2). Other examples come from media art, like the installation "Entre líneas" (3) or the net-art project CubaFakeNews (4). And in the form of a more conventional output, my ASCII (5) visual poetry, and the artist book/poetry collection/art project Hay palabras vulva (6), affectionately known as "the vulva book," where besides visual poetry and the ekphrastic (7) poem Destejido, there is a call for a global female intervention (do not panic, men, it sounds grandiloquent but it is actually a collaborative intervention that runs on photography, ASCII, and women's biographical writing).

Needless to say, since I am not just a poet but a writer, which accounts for fiction as well as other scribbling adventures, I also reserve some of my transdisciplinary impetus for prose. In "Exercising the Productive Einbildungskraf" (8), I work in the interstices between the short story and the play script. My novel Tim sin Tina, on the other hand -finishing this year, but still in progress, so no spoilers here- displays several genres to cover a variety of voices and time frames. 

And yes, down below, alongside the transdisciplinary poetry not authored by me, I will list as well some of my favorite examples for prose. 

Well, I hope you get it by now, and as I reach the end of this post, I will say that there are some transdisciplinary practices that I have yet to explore, such as cut-up writing, collage poetry, found poetry, or erasure literature. Maybe I'll try those in the future. For now, I am catching up with sound poetry and multimedia poetry -after all, I did not go through a DJ course in Havana or write a dissertation on the impact of digital technology in 21st-century Cuban literature just for nothing. 

One of these days, I may write another post where I do not talk about my own but the work of others, just for the fun of it. As you may already know, there is a hopeless bookworm behind every writer, and believe me, distinguished readers, I am not the exception. 

Until then, or that other phrase that I like to use and any respectable reader should know, Hasta pronto.

Some examples of transdisciplinary writers here:

Poetry, a couple of classics first:

• La poesía del pensamiento by Octavio Paz: A collection of essays that explore the relationship between poetry and philosophy, and the role of language and imagination in human thought. The essays cover topics such as the origin of poetry, the nature of metaphor, the dialogue between East and West, and the influence of poets such as Dante, Shakespeare, Rimbaud, and Borges.

• Bilingual/Bilingüe by Rhina P. Espaillat: A poem that explores the relationship between language and identity, tinted with the conflict between the poet and her father over her bilingualism. The poem uses both English and Spanish words to create a nuanced and poignant expression.

Poetry, now the more recent examples:

• .chisaraokwu., an award-winning poet-artist, actor, and healthcare futurist of Nigerian descent. She uses poetry, performance, photography, and film to explore themes such as identity, belonging, healing, and transformation.

• Monica Mody, a scholar, educator, and poet at the intersections of earth-based wisdom, whole-person philosophy, and embodied regenerative consciousness. She writes poetry that engages with myth, ecology, feminism, and decolonization.

• CAConrad, a North American poet, activist, and practitioner of somatic poetry rituals. His poetry challenges the norms of society, politics, and language.

• Sara Croucher, the PYP coordinator at Dwight School Seoul in South Korea. She revised a unit of inquiry about poetry as a means of creative expression to make it more transdisciplinary by focusing on the concept of patterns and integrating different subjects such as language, mathematics, science, arts, and physical education.

• Mónica de la Torre, a poet, translator, and scholar who was born and raised in Mexico City. She teaches at Brooklyn College. She writes in both English and Spanish, and her poetry explores themes such as bilingualism, identity, culture, and language.

Prose, first, the classics:

• The Left Hand of Darkness by Ursula K. Le Guin: A classic science fiction novel that depicts a planet where the inhabitants are ambisexual, meaning they can change their sex depending on their hormonal cycles. The novel uses anthropology, sociology, psychology, and ecology to create a rich and diverse world.

• The Making of the Atomic Bomb by Richard Rhodes. A nonfiction book that won the Pulitzer Prize in 1988. The book chronicles the History of the development of nuclear weapons, from the discovery of nuclear fission to the bombings of Hiroshima and Nagasaki. The book combines science, History, biography, politics, and ethics for a comprehensive and compelling narrative.

Prose, now the most recent, folks:

• The Arrival by Shaun Tan: A graphic novel that was published in 2006. The novel depicts the experience of an immigrant who leaves his homeland and arrives in a strange new country. The novel uses only images, without any words or dialogue, to create a universal, powerfull, story.

• The Silent History by Eli Horowitz, Matthew Derby, and Kevin Moffett: Novel that was originally released as an app for iOS devices in 2012. It tells the story of a generation of children who are born without the ability to speak or understand language. The silent History consists of three parts: Testimonials, which are short chapters that can be read in any order; Field Reports, geolocated stories that can only be accessed by visiting specific locations; and Serial, which includes a daily update that advances the main plot.

• Pry by Tender Claws: A digital novella that was released as an app for iOS devices in 2014. The novella tells the story of James, a demolition consultant and veteran of the Gulf War, who suffers from vision loss and PTSD. The novella uses touch gestures, such as pinching and prying, to navigate through different layers of the story, such as text, video, audio, and images.

• El mapa de los afectos by Ana Merino: A novel that won the Nadal Prize in 2020. The novel tells the story of a small town in Iowa, where different characters live and interact over several decades. The novel uses text, images, maps, and comics to create a mosaic of emotions and relationships.

• The God of Small Things by Arundhati Roy: A Booker Prize-winning novel that tells the story of a family in Kerala, India, and the tragic events that shape their lives. The novel uses poetic language, nonlinear narrative, and political critique to explore themes such as caste, class, gender, and colonialism.

Some queer examples, because we all need those:

• She Who Became The Sun by Shelley Parker-Chan: A genderqueer retelling of the origin story of one of China’s most iconic historical figures: Zhu Yuanzhang, founding emperor of the Ming Dynasty. The novel combines historical fiction, fantasy, queer theory, and Chinese culture to create a stunning and original work.

• Gender Queer: A Memoir by Maia Kobabe: A graphic memoir that chronicles the author’s journey of self-discovery and identity as a non-binary and asexual person. The memoir uses comics, illustrations, poetry, and prose to convey the author’s experiences, feelings, and thoughts.

• Phoenix Extravagant by Yoon Ha Lee: A fantasy novel set in a colonized Korea-inspired world, where a non-binary artist is recruited by the Ministry of Armor to paint mystical sigils that animate the occupying government’s automaton soldiers. The novel explores themes such as art, magic, war, colonialism, identity, and resistance.

• Beyond the Gender Binary by Alok Vaid-Menon: A nonfiction book that challenges the binary conception of gender and argues for a more inclusive and diverse understanding of gender identity and expression. The book uses personal stories, History, philosophy, art, and activism.

Other transdisciplinary projects can be visited at the Revista Desliz archives, courtesy of Rialta. 

Notes

1. “El poema” (performance). Torre de Letras, Havana, June 15, 2007

2.  “Esto no es un huevo es la muerte de la gallina” (performance, in collaboration with Andrés X). Festival de performances de Alamar, Havana, August 16, 2004

3. “Entre líneas” (exhibition, several installation pieces). Casa de la Poesía, Havana October 15-November 15, 2004

4. CubaFakeNews (collaborative online newspaper). Internet, Havana, March, 2009.

5. ASCII art: ASCII (American Standard Code for Information Interchange). Established by the American National Standards Institute (ANSI) in the 1960s, ASCII code is a standardized way of presenting and reading Latin-based alphanumeric keyboard characters. ASCII art creates images using this set of characters. The final result, as an image made out of text, can be as complex -or as simple- as you desire it to be.

6. Hay palabras vulva (Editorial Casa Vacía, 2023)

7. Ekphrastic poetry: Poetry that responds to or describes another work of art.

8. “Exercising the Productive Einbildungskraf” (short story: English). Margaret Randall (translator), The Oval Portrait: Contemporary Cuban Women Writers and Artists (Ed. Soleida Ríos,  Wings Press, 2018)

Ooo, sí; no tengo dudas. La poesía debe escribirse como prosa. Debe ser novelada. Debe pasar a ser materia viva. Debe, en suma, colarse en la ficción, salirse del poemario.

También debe salirse del libro.

Si coincidimos en que un poema es más político que una novela o un cuento (y esto es tema para otro post), su política se ve sin embargo reducida, o más bien confinada, al círculo de lectores de la élite letrada en la que además, los lectores de poesía son unos pocos.

La poesía, como poesía, no sirve para nada.

Todavía una novela sale, se despliega entre las manos de gente desconocida, ve rumiar y agrietar su cuerpo entre la multitud. Salvo la suerte de ceremonia de culto que es una reunión de spoken word, la poesía no experimenta, por lo general, nada parecido. Si tiene suerte, el texto-poema irá a parar al Festival de Medellín o a las manos de un oscuro crítico o estudioso que le trasvasará a otro oscuro medio de prensa para iniciados o a lectores de tesis académicas.

El poema debe convertirse en la nueva novela.

La novela debe recibir al poema como paradigma.

El poema ganará lectores. La novela verá su dimensión política crecer. Hoy la manera de ser político es arropando la circunstancia personal, leyendo en público la experiencia como un mantra que conjura la estandarización. (O hablando en jerga: la subjetividad menor, llamar a una huelga de la literatura domesticada por el capitalismo tardío.)

La poesía debe convertir a la novela en un largo, profuso poema en prosa.

La nueva novela debería poder ser leída en público, gritada en público, susurrada a los oídos de desconocidos en el metro de New York o en las estaciones de policía de La Habana.

La poesía debería poder descargarse en mp3, pasarse de mano en mano en mp3, ser reeditada en mp3. Esta poesía debería poder agarrar a un coro de niños y/o de mujeres y/o de negros y/o de viejos y decir: "vengan acá, que les voy a contar una historia..."

Finalmente, hay que decirlo, la nueva novela-poema debería poder ser "representada" como performance. El teatro es la más política de las artes, decía Arendt. En su descripción del rol del teatro, uno puede leer/ver/escuchar la representación de una pieza en la plaza pública. Polis y teatro son indisolubles, parece que dice. El público es el final de la obra y es en el espacio público que la obra adquiere o no su sentido de trascendencia.

Una propuesta: si el texto que has escrito puede ser leído en el sidewalk o en la acera del barrio sin que tú y/o los transeuntes se conmuevan, vuelve a entrar a casa.

Regresa al retrete.

Arroja esa hojita de papel por el caño.

Permiso.