In Mexican history, two great poets—Sor Juana and María Sabina—are compared. Although Sor Juana never practiced as a healer, she knew the magic of indigenous herbs and felt that her verses had been "bewitched" by them. Her writing is described as imbued with a spell "poured" onto it by indigenous magicians, raising the question of whether they inspired her singing and she was merely a vehicle. This paper analyzes Sor Juana's relationship with magic.
This article examines the poetic and Baroque disposition present in the ayahuasca ritual, as experienced by Argentine poet Néstor Perlongher. From his perspective, various tensions arise within the shamanic ritual, organized into three contradictory pairs: force and form, Apollonian and Dionysian, body and expression. These tensions lead the subject and/or poet toward the detachment of mystics, a "poetics of ecstasy," and ultimately an annihilation of the self.