The Deconstruction of Clichés in Social Poets

The Deconstruction of Clichés in Social Poets

In the world of poetry, social poets often rely on clichés to give their compositions a colloquial touch. However, in the 1970s, poet and critic Carlos Bousoño introduced the concept of "the deconstruction of clichés" through an analysis of the works of Blas de Otero. Bousoño based his analysis on linguistic principles, considering the formulation of the message and its decoding by the reader.

One example of this deconstruction can be found in Blas de Otero's poem "Aquí tenéis en canto y alma, al hombre aquel que amó, vivió, murió por dentro" (1963: 16), where the phrase "en canto y alma" is a reworking of the fixed expression "en cuerpo y alma" (body and soul). This deconstruction preserves certain prosodic features such as isosyllabism and assonance. Blas de Otero, like many other poets of his generation, was interested in wordplay and puns, but these were not mere games. They were motivated by the overall themes of their works.

The deconstructed phrase functions as an "equivocal sign" rather than a metaphorical process because the double meaning retains semantic coherence in both contexts. This ability to interpolate the equivocal sign lies in its partial or complete homophony with the substituted or underlying word, yet it remains recognizable. As Ángel González (1986: 272) states in his poem "A mano amada," the modification of the cliché highlights a stylistic choice. The immediate identification by the reader of the omitted element does not mean that the full meaning of the previous phrase is recovered but partially so. The "recovered" semantic element gains significance by merging with the interpolated element, resulting in a shift in meaning in our reading of the new phrase. This process allows for a renewal of the cliché itself.

Gil de Biedma's poem "Cada aparición que pasa, cada cuerpo en pena no anuncia muerte, dice que la muerte estaba ya entre nosotros sin saberlo" also demonstrates the modification of a cliché. The new pairing of "CUERPO/ MUERTE" roots an experience in the present that the worn-out cliché "alma en pena" would not have conveyed with the same effectiveness. The mechanism of meaning production that emerges in the deconstructed phrase is reminiscent of metaphorical processes, yet it differs from them because the new formulation retains some of the original intertextual fabric.

The use of proverbs, clichés, and incorporated intertextuality, whether modified or not, always implies a reenunciation on the part of the writer. It allows for a reinterpretation, condensation, displacement, and depth of multiple texts, as Philippe Sollers (1968) suggests in his work "Théorie d'ensemble." The incorporation of refrains, clichés, and modified intertextuality can lead to a parodic or ironic character in certain poems by Ángel González. In his poem "Glosas a Heráclito," he demonstrates this inventiveness that "mimics" the proverb:

"Nadie se baña dos veces en el mismo río.
Excepto los muy pobres.
Los más dialécticos, los multimillonarios:
nunca se bañan dos veces en el mismo traje de baño.
(Traducción al chino)
Nadie se mete dos veces en el mismo lío.
(Excepto los marxistas-leninistas)" (González, 1986: 302)

These examples showcase the creative use of clichés and intertextuality to subvert their traditional meanings and highlight the tensions between the worn-out formulations of social use and the return of the lyrical subject, who merely simulates the orality of the cliché.

In conclusion, the deconstruction of clichés in the works of social poets allows for a renewal of fixed expressions and opens up new possibilities for meaning. By modifying or incorporating intertextuality, poets can create a parodic or ironic effect that challenges the social use of clichés. This process not only breathes new life into old clichés but also highlights the tension between conventional language and the personal discourse of the poet.

Actionable Advice:

1. Experiment with language: Don't be afraid to deconstruct clichés and rework them in your own compositions. This can add a fresh and unique element to your poetry.

2. Incorporate intertextuality: Explore the possibilities of incorporating other texts, whether modified or not, into your work. This can create layers of meaning and add depth to your poems.

3. Embrace irony and parody: Use clichés and traditional expressions in an ironic or parodic manner to challenge their conventional meanings. This can create an engaging and thought-provoking effect in your poetry.

By following these actionable pieces of advice, you can enhance your poetic style and create works that resonate with readers on a deeper level.