Monographs


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To each his own Cuba


The contradictions and ambiguities of this place are legendary. The impression it makes on a new arrival is intense and disconcerting and each person interprets in their own way what they find here. I first visited the island in 1998. To me, it looked as if the world had come to an end, but instead of everyone dying, they were still alive, and in fact seemed rather more alive than anywhere else. I returned about a dozen times in the next five years, reveling in this bath of human warmth, always discovering new facets and layers to daily life. This book represents my last photographic project using the Leica camera loaded with black and white film and a desire to capture visually the amazing character of this corner of the world using only the light reflected off the surface of things.

English | Español

Chacun cherche son Cuba


Les contradictions et les ambiguïtés de ce lieu sont légendaires et l'impression que reçoit le nouveau venu est intense et déconcertante. Chaque personne interprète à sa manière ce qu'il ressent ici. Je suis allée pour la première fois sur l'île en 1998. Pour moi, c'était comme si le monde avait pris fin et qu'au lieu de mourir, tout le monde était encore vivant, en fait, ils me semblaient plus vivants que partout ailleurs. Au cours des cinq années suivantes, j'y suis retourné une douzaine de fois me délectant de ce bain de chaleur humaine, découvrant toujours de nouvelles facettes et nuances de la vie quotidienne. Ce livre est le résultat de mon dernier projet photographique avec l'appareil photo Leica chargé de pellicule noir et blanc et le désir de saisir visuellement le caractère étonnant de ce coin du monde en utilisant uniquement la lumière qui reflète la surface des choses.

Français | English

A cada quien su Cuba


Las contradicciones y ambigüedades de este lugar son de leyenda y la impresión que recibe el recién llegado es intensa y desconcertante. Cada persona interpreta a su manera lo que siente aquí. Fui por primera vez a la isla en el año 1998. A mí, me pareció como si hubiera acabado el mundo y en vez de morir, la gente seguía viva, pero mucho más viva que en ningún otro lado. Volví una docena de veces más en los siguientes cinco años, gozando de este baño de calor humano, siempre descubriendo nuevas matices y facetas de la vida cotidiana. Este libro es el resultado de mi último proyecto fotográfico con la cámara Leica cargada de película blanco y negro con el afán de saisir y traducir visualmente lo asombroso de este rincón del mundo sirviendome únicamente de la luz que refleja la superfícia de las cosas.



Projects


A Day at the Beach

in South India



I was heading to Chennai for two or three months with some vague ideas for a book project. One of them, thanks to Nadine who described it to me, was the beach. Then when I saw it, well, it was simply irresistible, a feast for the eyes and the heart. What colors! What fun! What handsome people frolicking in the warm sea with their fancy clothes on, bursting with joy and laughter! The hand-cranked gaily-painted merry-go-rounds, horse-rides, stands to get your photograph taken with your favorite cardboard movie star and arrays of snacks and drinks. A carnival, a collective spree inspired by sand and sea, it makes all the other beaches I’ve seen in the world seem rather serious and sad in comparison.

Chennai, India's fourth largest metropolis, is hot and humid even in winter and is also blessed with immense sandy beaches. In the early morning hours, the vast stretches of sand are spotted with joggers, body builders, cricket players, Frisbee tossers, dozing dogs and cawing crows. At midday, if you’re able to brave the heat, you’d find it mostly deserted except for some rows of empty stalls, bits of trash and a few couples hiding from the sun in the small squares of shade cast by scattered unpacked carts. Fishermen beach their boats at odd hours and haul their nets to shore where they pick out fish and sell them to waiting customers or hand them over to their wives who clean and lay them out to sell. Otherwise, they can be seen mending nets or circled around a card game at the far end of the beach where they live.

Late in the afternoon, vendors start setting up stalls in preparation for the coming crowds. When the sun is low and the air has cooled a bit, they start arriving in small groups of families, friends, couples or entire classes of uniformed school children. Balloon sellers squeak their wares, toy peddlers play flutes and pink cotton candy boys roam back and forth ringing bells. Bee bee guns pop bi-colored balloons. Horse riders meander about offering rides for rupees. Mischievous monkey handlers wander in and out. Fortune-tellers sit cross-legged awaiting clients. At a certain hour, khaki-clad policemen and women appear, some on horseback, combing the shore to bully swimmers out of the water. The sea here is in fact dangerous and many die carried away by the undertow. Camera boys with battery-powered printers in their shoulder bags offer minute photos for a modest sum. To attend to any appetite there are corn roasters, fish fryers, sugar cane juicers and peddlers of every kind of sweets and treats. Others just play games in the sand: blind man’s bluff, foot races, Kabaddi.

The excitement peaks around sunset. Then lanterns are brought out and glow toys planted in the sand. People linger long after dark enjoying the cool breeze and good company. Finally they squeeze the water from their clothes, shake off the sand and head for home.

-JH


This project was supported by an artist-in-residence grant from the Mexican National Fund for Culture and the Arts (FONCA) and by Tara Books. The photographs were taken in the winter of 2012-2013 at Marina Beach, Elliot's Beach and Mahabalipuram Beach.


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SIGHT


SEEING with Jill Hartley

30 years of photographs with Leica cameras and black and white film: 1975-2005


This is a collection of images, mostly unpublished, that have been waiting in a box for a new life in a book. They have little in common with each other except for their author who made them. Maybe they compose a kind of self-portrait or traces of looking, the record of my journey, my ethnographic sketchbook, or some sights recorded along the way and then selected because I liked them for some reason.

Just the act of finding ourselves in an unknown place wakes up our sensory antennas. This SIGHT SEER is a traveler in a foreign place who looks and listens rather than a tourist who tours. As the travelog may be literature, travel photography may aspire to poetry or art whereby personal reflections, impressions, the desire and the ability to communicate, makes a trip the occasion for extended observations on a nation and its people. A century ago, few had the opportunity to travel. Today, almost everyone can travel and everyone is a photographer especially when they are traveling. Why do they like to photograph themselves in front of a famous background? Proof that they traveled? To appropriate the world and take it home?

English | Español

SIGHT


SEEING avec Jill Hartley

30 ans de photographies avec les appareils photo Leica en noir et blanc: 1975-2005


Ceci s'agit d'une collection d'images, pour la plupart inédites, qui attendent dans une boîte leur nouvelle vie dans un livre. Ils ont peu de liens en commun sauf leur auteur. Peut-être qu'elles constituent une sorte d'autoportrait ou bien, les traces de mon regard, le compte rendu de mes voyages sur la planète, mon carnet de croquis ethnographique, ou des scènes enregistrées en cours de route, puis sélectionnées parce qu'elles me plaisent, je ne sais pas pourquoi.

Le simple fait de se retrouver dans un lieu inconnu réveille nos antennes sensorielles. Le SIGHT SEER qui voyage dans un lieu étranger, regarde et écoute plutôt que le touriste qui fait le tour. Comme le récit de voyage peut être de la littérature, la photographie de voyage peut aspirer à la poésie ou à l'art. Les impressions et les réflexions personnelles, le désir et la capacité de communiquer, font d'un voyage l'occasion d'observations approfondies sur une nation et son peuple. Il y a un siècle, peu avaient l'occasion de voyager. Aujourd'hui, presque tout le monde peut voyager et tout le monde est photographe, surtout lorsqu'il voyage. Pourquoi autant se photographient devant un arrière-plan célèbre? Preuve qu'ils ont voyagé? S'approprier le monde et le ramener chez soi?

Français | English

SIGHT


SEEING with Jill Hartley

30 años de fotografías con la cámara Leica en blanco y negro: 1975-2005


Es una colección de fotografías, inéditas en su mayoría, que esperan desde una caja de cartón, a una nueva vida dentro de un libro. Poco les une aparte de su autora. Quizás forman un autorretrato o rastros de miradas, registros de mi viaje por el planeta, relatos etnográficos o escenas grabadas en el camino y luego seleccionadas porque me gustaron, quien sabe porqué.

El solo hecho de encontrarse en un lugar desconocido despierta las antenas sensoriales. Este “Sight Seer” viajando por un lugar extranjero, mira y escucha a diferencia del turista que recorre. Cómo una crónica de viaje puede ser literatura, la fotografía de viaje puede aspirar a la poesía o al arte. Las impresiones y reflexiones personales, el deseo y la capacidad de comunicar, hacen de un viaje la ocasión de largas observaciones sobre una nación y su gente. Hace un siglo, pocos tenían la oportunidad de viajar. Hoy en día, casi todos pueden viajar y todos son fotógrafos, especialmente cuando viajan. ¿Por qué tantos quieren fotografiarse frente a un fondo famoso? ¿Prueba de que viajaron? ¿Apropiarse del mundo y llevárselo a casa?

Français | Español

Brazzaville: Autoportrait

JILL HARTLEY



In Congo-Brazzaville alone about 60 distinct languages are spoken daily. To provide a means of communication between different groups, trade languages developed. I imagine that the popular use of paintings on shop signs in African cities, which everyone can understand, emerged as a visual lingua franca.

When I was invited to Brazzaville, it was my first visit to Sub-Saharan Africa. I had heard that Africans in general dislike being photographed off guard. When I asked permission, many explained to me that they feel offended by the image of Africa in the foreign press. I can see their point; we do see a profusion of famine, disease and war. Still asking permission, I began to photograph paintings on shops signs because I found them beautiful and because I am interested in how people view themselves and their world.

The most common paintings allude to grooming and dressing well: barbershops, hairdressers, shoe stores, tailors and fabric shops. Prized modernity takes the form of cell phones, televisions, musical instruments, computers and photo studio portraits. This popular street art reveals what people covet and desire like a reflection in the mirror of their worldview.

English | Español

Brazzaville: Auto portrait

JILL HARTLEY


Dans le seul Congo-Brazzaville 60 diverses langues sont parlées tous les jours. Pour assurer un moyen de communication entre les différents groupes, des langues véhiculaires se sont développées. J'imagine que les peintures publicitaires sur les magasins dans les villes Africaines, compréhensibles par tous, ont fait leur apparition comme une lingua franca visuelle.

Quand j'étais invitée à Brazzaville, c'était ma première visite en Afrique subsaharienne. J'avais entendue dire qu'en générale les Africains n'aiment pas être photographié à leur insu. Je leur ai donc demandé la permission. Beaucoup m'ont expliqué qu'ils se sentaient offensés par l'image d'Afrique diffusée dans la presse européenne. Effectivement on y voit surtout la famine, la maladie, la guerre. Toujours en leur demandant la permission, j'ai commencé à photographier les peintures sur les boutiques car je les trouvais belles et parce que je m'intéresse à la façon dont les gens se perçoivent et perçoivent leur monde.

Les enseignes les plus fréquent concernent la présentation personnelle : le salon de coiffure, le magasin de chaussures, le tailleur, le vendeur de tissus. La modernité estimée prend la forme de téléphones mobiles, de téléviseurs, d'instruments de musique, d'ordinateurs et des portraits de studio photo. Cet art populaire urbain révèle ce que les gens désirent et apprécient, comme un reflet dans le miroir de leur univers.

Français | English

Brazzaville: Autorretrato

JILL HARTLEY


Se hablan diariamente 60 idiomas distintos solo en el país de Congo-Brazzaville. Para facilitar la comunicación entre diferentes grupos, se desarrollaron idiomas comerciales. Me imagino que el uso popular de pinturas publicitárias en las fachadas de las tiendas, que todos pueden entender, surgió como una lingua franca visual. Este arte urbano habla un lenguaje universal.

Cuando me invitaron a Brazzaville, fue mi primera visita al África subsahariana. Había oído que a los africanos en general les molesta estar fotografiados desprevenidos. Cuando pedí permiso, muchos me explicaron que se sienten ofendidos por la imagen de África en la prensa extranjera. Es cierto que vemos una profusión de hambruna, enfermedad y guerra. Siempre pidiendo permiso, empecé a fotografiar las pinturas de las tiendas porque las encontraba bellas y porque me interesa cómo la gente ve a su mundo y a sí misma.

Las pinturas ponen en evidencia lo que desea la gente, lo codiciado, lo valorado o lo que causa inquietud. Las más populares aluden al arreglo personal y el cuidado en el vestir. Entendemos la importancia que tienen la apariencia y la belleza física. Hay muchas estéticas, tiendas de ropa, de zapatos y de telas. La preciada modernidad toma la forma de teléfonos celulares, televisores, instrumentos musicales, computadoras y retratos fotográficos. Este arte popular callejero es una ventana a la vida cotidiana del pueblo y un pequeño reflejo de su cosmovisión.

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Triptychs ƒotoTaroc

We see what we want to see.


I've always noticed how people find meaning in photographs by mixing what they see with their own projected preoccupations and experiences. I decided to make a set of cards with purposely ambiguous or symbolic images, which lend themselves to various interpretations to summon up secret corners of the unconscious.

The basic rules go like this: The person who will “read” the cards first shuffles the deck and chooses three at random, then places them face up for all to see. Paying close attention to first impressions, they must look for a personal message.

The triptychs represent possible combinations of three images from the deck, although carefully chosen, that invite the viewer to imagine how the images might relate to one another.

English | Español

Triptyques ƒotoTaroc

On voit ce qu'on cherche.


J'ai toujours remarqué comment les gens trouvent du sens dans les photographies en mélangent ce qu'ils voient avec leurs propres préoccupations et expériences. J'ai décidé de faire une série d’images expressément ambiguës ou symboliques, qui se prêtent à interpréter de multiples manières pour révéler les secrets de l’inconscient.

Les règles du jeu : la personne qui va « lire » les cartes d’abord mélange le paquet et en choisit trois au hasard, puis il les place face visible à la vue de tous. Portant une attention particulière aux premières impressions, il doit y chercher un message personnel.

Les triptyques représentent des combinaisons possibles de trois images du jeu, plutôt soigneusement choisies, qui invitent le spectateur à imaginer des rapports entre elles.

Français | English

Trípticos ƒotoTaroc

Vemos lo que queremos ver.


He siempre notado cómo las personas buscan sentido en las fotografías mezclando lo que ven con sus propias preocupaciones y experiencias. Decidí hacer una serie de imágenes expresamente ambiguas o simbólicas que se prestan para interpretaciones variadas y que sirven para revelar rincones de la inconsciencia.

Se juega así: la persona que va "leer" las cartas primero baraja el mazo y elige tres al azar. Las coloca boca arriba en cualquier orden a la vista de todos. Prestando atención a sus primeras impresiones, debe buscar en ellas un mensaje personal.

Los trípticos representan posibles combinaciones de tres imágenes del juego, aunque bien escogidas, que invitan al espectador a imaginar relaciones entre ellas.

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Lucina's Album

JILL HARTLEY



Lucina's Album is a series of portraits recording my daughter's passage through childhood made on the exquisite Polaroid 665 film. The project was strictly personal, starting with her birth until she went away to study when I decided to bring it to a close, and besides, the Polaroid Company had by then declared bankruptcy. Whenever I showed the small album of contact prints, I realized that it touched emotions regardless of whether or not the person knew my daughter. They say the universal dwells in the most intimate places.

This was a ritual for three collaborators, each with her own role, contributions and conditions: myself- photographer/mother, Lucina- subject/daughter and the film- medium/photography. Like most new parents, I wanted to celebrate each month completed by my little daughter during her first year of life. Lucina was born on the 23rd of September 1986, thus I began making a ceremonial portrait on the 23rd of each month. I was free to choose the moment until she learned to walk and talk, and from then on she would decide the right moment which almost never came on the 23rd. I would suggest we make a portrait once in a while, taking care not to let too much time go by without bringing out the Polaroid camera. Because the film is slow, the subject must hold still or else come out as a blur. Focusing and framing is dificult. Once the shutter was released, I would count out a minute, then carefully pull on the tab to release the photo and separate positive from negative. The negative would then be washed and hung to dry while we inspected the positive. There would be seven more chances until the pack ran out.

Lucina's childhood was divided between two cities: first Paris and then Mexico with vacations usually spent in California. Having grown up with it, she must have thought this ritual was like a normal part of life and she was fascinated to see how she looked before. She would not enter into the game, however, without a reason, like a desire to document something special. The years four, five and six were blessed with dress-up fantasies. Between fifteen and seventeen she often preferred we do the picture another day.

To display the selected photographs, I fashioned a small book of linen-covered cardboard with black paper pages joined together by two brass screws in which I would slip the newest portrait under stick-on corners on the top page of the stack. Thus the album always began with the most recent picture, progressing backwards in time, like memory, to end where the story began. Already, at the moment of making a portrait, we are aware of looking back at it from the future.



Petra Ediciones

First Readers

About Petra Ediciones


The Switchman

short story by Juan José Arreola


original title “El Guardagujas”


The foreigner arrived out of breath to the deserted station. His large suitcase, that nobody wanted to carry, had worn him out to the utmost. He wiped his face with a handkerchief and with his hand shading his eyes, looked at the tracks disappearing on the horizon. Breathless and pensive, he checked his watch: exactly the time when the train should leave. Someone, out of who knows where, gave him a gentle slap on the back. Turning around, the foreigner found himself facing an old man with the vague appearance of a railwayman. He was carrying a red lantern, but so small it looked like a toy. He looked smiling at the traveler who anxiously asked,

-Excuse me, has the train already gone?

-You haven't spent much time in this country?

-I need to leave immediately. I must be in T. tomorrow.

-It appears that you are completely unaware of things. What you should do right away is look for lodging in the inn for travelers, and he pointed to a strange, ashen building that looked more like a prison.

-But I don't want lodgings. I want to leave on the train.

-Rent yourself a room immediately if there are any. In case you can get one, rent it by the month. It will be cheaper that way and you'll receive better service.

-Are you crazy? I must get to T. tomorrow.

-Frankly, you ought to abandon yourself to your fate. Nevertheless, I will give you some information.

-Please.

-This country is famous for its railroads, as you know. Until now it has not been possible to organize them properly, though great things have been done regarding the printing of time-tables and the dispatching of tickets. The railway guidebooks cover and link all the towns in the nation. You can buy a ticket to the tiniest and remotest of villages. All that's lacking is that the trains follow the indications contained in the guidebooks and actually pass through the stations. The inhabitants of this country do hope so. Meanwhile, they accept the irregularities in the service and their patriotism prevents them from showing any signs of displeasure.

-But, is there a train that stops in this town?

To answer in the affirmative would be equivalent to committing an inexactitude. As you yourself can see, the rails exist, although they're a bit broken down. In some towns they are simply indicated on the ground by two lines of chalk. Given the current conditions, no train is obliged to pass by here. But then nothing would prevent this from happening. I have seen many trains pass by in my life and have known some travelers who were able to board them. If you wait patiently, perhaps I myself will have the honor of helping you board a luxurious and comfortable wagon.

-Would this train take me to T.?

-And why do you insist that it has to be precisely to T.? You ought to consider yourself satisfied if you can board. Once on the train, your life will effectively take some course. What does it matter if this way is not the one to T.?

-It's just that I have a valid ticket for T. Logically I should be conducted to that place. Isn't that so?

people who have taken precautions, acquiring great quantities of tickets. As a general rule, those with foresight buy fares for all points in the country. There is one who has spent a real fortune in tickets.

-I believed that to go to T. a ticket was enough. Look at it.

-The next stretch of national railroad is going to be constructed with the money of one single person who has just finished spending his immense capital in round-trip tickets for a railway route whose plans, that include tunnels and bridges, have not even been approved by the engineers of the firm.

-But the train that goes to T., is it already in service?

-And not only that. In reality, there are many many trains in the nation and travelers can use them with relative frequency, while taking into account that it's not a reliable and fixed service. In other words, on boarding a train, no one expects to be transported to the place he wants to go.

-How is that?

-In its eagerness to serve the citizens, the firm must resort to certain desperate measures. They circulate trains through impassable terrain. These expeditionary convoys take, at times, several years to complete their journey and the lives of the voyagers suffer some considerable transformations. Deaths are not uncommon in such cases. But the firm that has anticipated everything, adds to those trains a chapel wagon and a cemetery car. It is a source of pride for the conductors to deposit the cadaver of a voyager luxuriously embalmed, on the platform of the station written on his ticket. On occasion, these trains are forced to run routes where one of the tracks is missing. All of one side of the wagons shake deplorably from the wheels striking the sleepers. The voyagers in first class (it's another provision of the company) stick to the side where there's a rail. Those in second class suffer the blows with resignation. But there are other routes where both tracks are missing. There the voyagers suffer equally until the train is left totally destroyed.

-Good God!

-Look, sir. The little town of F. grew up because of one of those accidents. The train was crossing impassible country. Ground by the sand, the wheels wore down to their axels. The voyagers passed so much time together, that out of the obligatory trivial conversations grew close-knit friendships. Some of these friendships soon turned into romances and the result has been F., a progressive little village full of naughty children who play with the rusty remains of the train.

-My God! I wasn't made for such adventures.

-You need to go about tempering your spirit. Perhaps you'll get to become a hero. Don't believe that opportunities are lacking for voyagers to demonstrate their courage and their capacity for self-sacrifice. Recently two hundred anonymous passengers wrote one of the most glorious pages in our railroad annals. It happened that during a test voyage, the driver noticed, just in time, a serious omission by the constructors of the line. In that route, a bridge was missing that should have spanned an abyss. Well the driver, instead of putting it into reverse, appealed to the passengers and obtained from them the necessary effort to continue on ahead. Under his energetic direction, they disassembled the train piece by piece and carried it on their shoulders to the other side of the abyss, that still held out the surprise of hiding a rushing river in its depth. The result of the exploit was so satisfactory that the company directors permanently renounced construction of the bridge, resigning themselves to giving an attractive discount to those passengers daring to face the extra inconvenience.

-But I must arrive in T. tomorrow!

-Very well! I like that you don't give up your plan. I see you are a man of conviction. Get yourself a room at the hotel for the moment, and take the first train that stops. Try it at least. There'll be a thousand people blocking your way. When the train comes, the voyagers, irritated from waiting so long, pour out of the hotel in a tumult and noisily invade the station. Many times they provoke accidents by their incredible lack of courtesy and prudence. Instead of boarding in an orderly fashion, they intentionally smash each other. In the end they prevent anyone from boarding of the train and it departs leaving them all piled up on the platform. The voyagers, worn out and furious, curse their lack of breeding and spend a lot of time insulting and punching each other.

-And the police don't intervene?

-They tried to organize a police corps in each station, but the unpredictable arrival of the trains made such a service useless and extremely costly. Besides, the members of this unit very soon demonstrated their crookedness by devoting themselves exclusively to protecting the departure of wealthy passengers who gave them in exchange for this service all they were carrying. It was therefore resolved to establish a special type of schools where the future voyagers receive lessons in courtesy and adequate training. There they teach them the correct manner of boarding a train, even if it is moving at high speed. Also they provide them with a kind of armor to prevent the other passengers from breaking their ribs.

-But once on board the train, is one then overwhelmed with new difficulties?

Relatively. I only recommend that you pay careful attention in the stations. It could happen that you believe you have arrived in T. and it would be just an illusion. To regulate life on board the crowded wagons, the company sees itself obliged to resort to certain measures. Stations exist that are purely appearance built in the middle of the jungle and carry the name of some important city. But it's enough to pay a little attention to discover the trick. They are like theater sets and the people who appear in them are full of sawdust. On these mannequins, it is easy to distinguish the ravages of the outdoors, though at times they are a perfect mirror image of reality, wearing on their faces the signs of an infinite fatigue. Fortunately T. is not too far from here. But for the moment, we are lacking direct trains. Nevertheless, it shouldn't exclude the possibility that you arrive tomorrow, just as you wish. The railway organization, although deficient, does not exclude the possibility of a non-stop trip. You see, there are people who have not even realized what's happening. They buy their ticket for T. The train comes, they get on, and the next day they hear the conductor announce: “We have arrived in T.” Taking no precautions whatsoever, the voyagers get off and find themselves indeed in T.

-Could I do something to make sure that will happen?

-Of course you can. What we don't know is if it would be of any use. Try it by all means. Get on the train with the fixed idea you are going to arrive in T. Do not deal with any of the passengers. They could disillusion you with their travel stories, even denounce you to the authorities.

-What are you saying?

-In virtue of the current state of things, the trains travel full of spies. These spies, voluntary for the most part, dedicate their lives to fomenting the constructive spirit of the company. At times one doesn't know what one is saying, talking simply to talk. But they realize all the meanings a phrase may have, as simple as it might sound. Out of the most innocent comment, they know how to draw a guilty opinion. If you manage to commit the slightest imprudence, you'd be apprehended without further ado, to pass the rest of your life in the prison wagon. Or they'd oblige you to get off at a false station, lost in the wilderness. Travel full of faith, consume as little food as possible and don't put your feet on the platform in T. before you see some familiar face.

-But I don't know anyone in T.

-In that case, double your precautions. You will have, I can assure you, many temptations along the way. If you look out the window, you risk being tricked by a mirage. The windows are provided with ingenious devices that create all kinds of illusions in the minds of the passengers. It's not necessary to be weak to fall for them. Certain apparatuses operated from the locomotive make you believe through noise and movement that the train is moving. While the train remains at a standstill entire weeks, the voyagers watch captivating landscapes passing by through the glass.

-And for what purpose?

All this is done in the healthy interest of diminishing the travelers' anxiety and to eliminate as far as possible sensations of relocation. It is hoped that one day they will give in completely to chance in the hands of the omnipotent company and that it will no longer matter to them knowing where they are going nor from where they are coming.

- And you, have you traveled a lot by train?

-I, sir, am only a switchman. To tell you the truth, I'm a retired switchman and I only appear here now and then to remember the good old days. I have never traveled, nor do I want to. But the voyagers tell me stories. I know that the trains have created many towns besides the village of F. whose origin I referred to. It occurs once in a while that the crew members receive mysterious orders. They invite all the passengers to descend from the wagons, generally with the pretext to admire the beauty of a certain place. They speak to them of caves, waterfalls or famous ruins. “Fifteen minutes for you to admire the grotto or whatever,” says the friendly conductor. Once the voyagers have gone a certain distance, the train runs away at full steam.

-And the voyagers?

-They wander bewildered from place to place for some time, but finally they gather and establish a colony. These untimely stops are made in suitable places far from civilization and with sufficient natural resources. They abandon their selected lots of young people with above all plenty of women. Wouldn't you like to pass your days in a picturesque unknown spot in the company of a young girl?

The old man winked and kept looking at the traveler mischievously, smiling and full of goodness. At this moment, a faraway whistle was heard. The switchman gave a hop, looked anxious and began making ridiculous and chaotic signals with his lantern.

-It's the train? asked the stranger.

The old man started running for his life along the rails. When he got a certain distance, he turned and shouted, -You're lucky! Tomorrow you'll arrive at your famous station. How did you say it was called?

-X, answered the traveler.

In that instant, the little old man dissolved into the morning light. But the red dot of his lantern kept running and jumping recklessly between the rails to meet the train. From the depth of the landscape the locomotive was approaching like a noisy apparition.

Translation from the original Spanish by Jill Hartley



Petra Ediciones

Preschool

An interview with Jill Hartley


Circle or Square?

Jill Hartley – Petra Ediciones


Asking ... isn't that what kids always do? By asking, the world opens up to them, secrets are revealed. The attentive reader will understand that such a simple question, circle or square?, is actually more subtle. Hey you, boy or girl! will you know how to recognize these two common forms hidden in the visual richness of the world? You, the reader, no longer a child, can you do this with the eyes of a child? On the cover of Jill Hartley's book, a young photographer looks at me through a toy camera: his childhood imagination playing with paper and paperclips challenges me. These humble materials are enough for his creativity to invent a new reality, that of magical thinking.

CIRCLE OR SQUARE? The book looks like candy, we want to eat what we see. The eye of Jill Hartley offers us a wondering look at Mexican culture and how it must feel to be a Mexican child today. Well, being a child means playing a lot (with a flower, dice, dominos, spinning tops, a ball, marbles), eating sweets (and desserts, tortillas, jello, lollipops, chewing gum), and seeing the world as a combination of squares and circles in cacti, flowers and painted doors; the world as a construction game using basic forms to build with the eyes rather than with the hands.

The beauty of this book also comes from its warm colors, from the varied compositions and from the different subjects: play, nature, food, art, finally all human creation in Mexican culture. Thus we can also view "CIRCLE OR SQUARE?" with the eyes of an anthropologist (what do they eat, what do they play with, how do they dance, what colors do they wear?) or from an aesthetic point of view: the round tortillas on an orange and white checkered cloth converse with the orange hoop of the girl on the facing page, the marbles in their circle of white chalk are the earthly sisters of the ethereal soap bubles, and the bunch of painted wooden tops spin like the aerial dancers in a blue sky. This book invites us to form new connections, create other meanings and to invent metaphors

The powerful poetry emanating from CIRCLE OR SQUARE? also has to do with these two shapes: the square, symbol of the earth and solidity, joining the circle, symbolic of perfection and infinity, in a constant dynamic of creation. Jill Hartley offers us a view of the world seen through a prism of the square and the circle, perhaps because, behind the complexity there is something more simple. She invites us to see better and to play like children: to be poets.

Bruno Lecat
October 2007