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Haravec: A Literary Magazine from Peru / Una revista literaria del Perú


Haravec: A Literary Magazine from Peru / Una revista literaria del Perú


Haravec: A Literary Magazine from Peru published five issues in Lima between 1966 and 1968. Founded by Richard Greenwell and Maureen Ahern, the journal remained under the editorship of Ahern and other rotating editors for the entirety of its run, with Greenwell departing after the second issue. The bilingual journal took its name from harawek, "the Quechua word for the minstrel who sang the traditional lyric songs or harawi." Haravec featured poetry and prose, and its notable contributors included Charles Olson, José María Arguedas, Mario Vargas Llosa, Raquel Jodorowsky and Cecilia Bustamante, among others. As Ahern writes in the editor’s note to the first issue, Haravec followed El Corno Emplumado in disseminating recent "itinerant writers" traversing the hemispheric Americas and the UK. Begun, in part, from the materials Clayton Eshleman had gathered toward an unrealized little magazine project to be entitled Quena, Haravec's importance in the Limeño literary scene relied not least on its distribution of US writers, including an important translation of Olson’s “Projective Verse” by José Coronel Urtecho. Reciprocally, the journal offered an outlet for younger Peruvian writers, such as Rodolfo Hinostroza, Mirko Lauer, and Jorge Pimentel, to appear in print in English. It ended its run after five issues due to difficult economic conditions following the collapse of the Peruvian sol. Many of the Peruvian writers published in Haravec would be published in translation in the journal Tri-Quarterly in 1969, as well as Peru: The New Poetry, an anthology edited by Maureen Ahern and David Tipton, published by London Magazine Editions in 1970.

--Judah Rubin (CUNY), December 2021


Ahern de Maurer, Maureen




Ahern de Maurer, Maureen (editor)
Greenwell, Richard (editor)
de Lomellini, C.A. (editor)
Tipton, David (editor)


1–5, irregular


Issues of Haravec from the collection of Harris Feinsod. Ephemeral materials courtesy of Crescencia Maurer and Ursula Maurer