Ulises criollo in the Archivos edition is 50% off at Schoenhof’s now.
I would also like a copy of Cerna-Bazán’s Sujeto a cambio, second edition 2004, although it may be downloadable as a .pdf somewhere.
From it, for now, 340-343: raza in HN means la comunidad indígena, el campesinado, AND la vida provinciana. There are fragments and sombras of the “raza” here, that the speaker aims to dynamize: they are undertaking practical activity in the present (notice that Tace says something similar). In T the references to “la raza” not explicit but the mundo aldeano does appear and gives consistency and solidity to the speaker. During the same years in which T is composed, the mundo aldeano and the subject’s conflictive relationship with it is represented explicitly in Escalas and Fabla salvaje. The activity of the aldeano world, and verbal activity in the poems, brings these “old” things into the present and pulls them out of stasis. Word, movement, life, de-reification.
347-351: Mariátegui called V the poet of a raza and CV proposes this in Nostalgias Imperiales I. But the decentering process had already started in HN and continues in T;
important: raza here is not monumental raza but the historical activity of the masas indígeno-campesinas. “Lábrase la raza” — it is a process of construction, not nostalgia for a monument. It is the “constante elaboración” that Mariátegui saw. Raza and palabra, producción and desgaste.
It is worth reviewing these pages, as there is more in them than my notes here reflect.