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Argentine writers
presentation of Argentine writers translated into French:
http://ecrivainsargentins. viabloga.com
See also:
http://www.ladernieregoutte.fr/livres/
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Leopoldo Marechal
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Martini * John Mayer Daniel
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* Nestor Ponce begin_of_the_skype_highlighting end_of_the_skype_highlighting begin_of_the_skype_highlighting end_of_the_skype_highlighting begin_of_the_skype_highlighting end_of_the_skype_highlighting begin_of_the_skype_highlighting end_of_the_skype_highlighting begin_of_the_skype_highlighting end_of_the_skype_highlighting Abel Posse
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Argentine music
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other things unclassifiable. . otras cosas mescolanza of
The appointment of October at the bookstore El show del Libro
Paris, Place de l'Estrapade, September 2010
After the new literary and partnership with the Festival America, the month October is the month of Beautiful ... Beautiful and Beautiful Latinas with foreign countries like Colombia with honor.
Friday 1 October at 19h
Caller ID magazine Alba 12 with Bravo Guille, Ricardo Mosner, the participation of tango singer Juan Ramoset artists associated with the number 12.
Saturday, October 2 at 17h
Meeting with Argentine author Felix Bruzzone for his book The Mole editions Asphalt.
Wednesday, October 6 at 19h
Varnishing prints Edgardo Montes de Oca (EDMO).
EDMO engravings
Tuesday, October 12 at 19h
Meeting with Juan Carlos Caceres, pianist, painter, singer, trumpeter, composer, for his book Tango Negro, ed. Planeta (La historia Negad: Origen, desarrollo y actualidad del tango).
* Juan Carlos will come with his piano.
Wednesday, October 13 at 19h
Meet two Argentine publishers: Constanza Brunet (Marea ediciones click) and Guido Indij (La Marca Editora and Interzona).
Thursday, October 14 at 19h
As part of Beautiful Latinas, meeting with the Peruvian writer Santiago Roncagliolo click. In partnership with the Peruvian Cultural Center CECUP.
Santiago Roncagliolo
Friday, October 15 at 19h
Meet Jacobo Machover for the release of his book Cuba: blinding guilty, ed. Armand Colin
Saturday, October 16th at 17h Meeting
around books lovers Néstor Taboada Terán Potosi, ed. Patiño with his translator Erich Fisbach.
Tuesday, October 19 at 19h
Meeting with the Peruvian writer Manuel Aguirre in partnership with CECUP.
Wednesday, October 20 at 19h
Meet Damián Tabarovsky for his new book Autobiography Medical forthcoming October 7 published by Christian Bourgois.
"At Tabarovsky, the characters seem to struggle with a narrative that is always the metaphor act as links ruthless enslave them. As if the choice of the digression, far from denying, far from being a dead end, was the formula of a regained freedom. " Emilie Colombani, A Defector
hear the broadcast on France Culture Colette Fellous 24 in the life of ... Damián Tabarovsky Buenos Aires.
Thursday, October 21 at 19h
Beautiful Latinas on, meeting with Mexican writer David Toscana click.
David Toscana
sent by Karim Benmiloud
Friday, October 22 at 19h
Beautiful Latina Concluded, met with Ernesto Mallo and performance painting by Alberto Bali click.
Ernesto Mallo
New Bookstore English El Salón del libro,
21 rue des Fosses St. Jacques
75005 Paris Tel. 09 51 13 86 95
placedelestrapade@gmail.com
The meetings of the library!
sent by Sonia Lambert
Displaying 21 Rue des Fosses St. Jacques on a larger map
source: www.ameriquelatine.msh-paris.fr/spip.php
By Larouge and • HOME Friday, 01/10/2010 ANNOUNCEMENTS • • 0 Comments • Print
Rodrigo Fresán
Fresán, Rodrigo
[Argentina] (Buenos Aires, 1963 -). Journalist, food critic, literary and film, he has published short stories and novels: The Man of the outer edge (1991), autobiography of a writer amid guerrilla, repression and disappearances of Viajos santos (1993) ; Trabajos manuals (1994), Esperanto (1995), evocation of seven days in the life of a man Mantra (2001).
... born in Buenos Aires in 1963, he lives in Barcelona. Since 1984 he has worked as a journalist in many media, writing about food, music, film or as a literary critic. It is considered the Today'''a leader of the literary revival of Latin American and lives in Barcelona. Meeting organized under the Fair Latinas in partnership with Latinos Spaces
Fresán's novels, Argentine writer, autobiographies are fragmented, allowing the noise of the planet: music, literature, miscellaneous, mythology pampa Falklands War .. . Wild material is lying in the rough. The consciousness of the narrator is a room news agency, where we do not sort: it all telescoped information from all sources, that flows of childhood memories, dreams, desires, ... hopes
- Man of the outer edge (Historia argentina, 1991, ed. magazine 1993), afterword by the author, translated from English by Jean-Jacques and Marie-Neige Fleury. [Paris]: Editions Otherwise, "Literature", 1999, 218 p., € 14.95.
- Esperanto (Esperanto, 1995), a novel, translated from English by Gabriel Iaculi. [Paris]: Éditions Gallimard, "From the world", 1999, 240 p., € 21.34.
Kensington Gardens
Matra
Speed of thing
By Rodrigo Fresán Larouge • • • 0 comments Thursday, 30/09/2010 • Print
The Heart of The Heart of the sky
sky
Rodrigo Fresán
Publisher: Polity (August 19, 2010)
Collection: FRAME GREEN
In New York, for a winter night, two young boys fans of science fiction built a snow globe for an extraordinarily beautiful girl who looks behind her window. The memory of this moment of absolute love is what will keep them united, so that their paths separate and everyone lives in different times and worlds apart. Executor of a Zack Warren Wilbur, a writer science fiction misunderstood his time but legendary author of a novel, Isaac Goldman wrote scripts for television and dream of slow sunsets. Ezra Leventhal, who left for distant planets involved almost simultaneously with the explosion of the first atomic bomb, the war in Iraq and the attack of September 11. Exceeded by the present and future is only a multitude of possible endings, all of which Isaac and Ezra apocalypses escape only through the fullness of a moment of snow and immortality.
Kurt Vonnegut, Philip K. Dick, John Cheever, Stanislaw Lem filigree cross that wonderful and extraordinary novel, highly innovative and incredibly Borgesian.
Translated from English (Argentina) by Isabelle Gugnon
By Larouge Fresán • Rodrigo • Wednesday, 29/09/2010 • 0 Comments • Print
about "against the sky"
For more → Larouge Fresán • Rodrigo • Wednesday, 29/09/2010 • 0 Comments • Print
else about Last Train por Buenos Aires Hernan
Ronsino, Last train to Buenos Aires (Liana Levi, 2010) → For more
Larouge • Hernan Ronsino • Thursday, 09.09.2010 • 1 comment • Printer
Julio Cotazar
[ARGENTINA] (Brussels, 1914 - Paris, 1983). "Like Argentina, there is no better: English blood mixed blood French and German, Julio Cortázar - giant two-meter, the bass voice, with Castro-style beard hiding the face of a young man - was born in Brussels, one evening in August 1914 under a German bombardment. Child arrived in the homeland of his parents, Argentina, where he remained for over thirty years before settling in Paris in 1951. Poet, author of a collection of sonnets published under a pseudonym, professor at the University of Buenos Aires, translator - wonderful - from the prose works of Poe, it was shortly before crossing the ocean he began a writing career which was never interrupted since. Two parallel tracks in its inspiration: that of the new fantasy genre in which he has mastered, as evidenced Secret Weapons (1959) and All lights the fire (1966). And that of the novel, which he accomplishes this dream run after which so many writers write another Ulysses. For Julio Cortázar is actually managed on its behalf, in Hopscotch (1966), a novel total journey of initiation, descent into the underworld, where Moreover, it is more likely that Joyce Lautreamont guide. After this metaphysical quest, extended by 62. Mock-up (1968), Cortázar back virtually to the surface of reality, amounts to a world full of sound and fury of summary executions, torture and bombings. Now his major concern is in fact socialism in South America. His friends called Castro and Allende. Political choice, without ambiguity, on the literary map will come to the Book of Manuel (1973). "(Hector Bianciotti).
Julio Cortazar By Larouge • • • 0 comments Wednesday, 08.09.2010 • Version Printable
about "last train to Buenos Aires Hernan
Ronsino, Last train to Buenos Aires, translated from English (Argentina) by Dominique Lepreux, Liana Levi, 92 pages, 12 euros more →
By Hernan Ronsino Larouge • • Wednesday, 08/09/2010 • 0 Comments • Print
about "The seven madmen"
Roberto Arlt, The Seven Fools, translated from English (Argentina) by Isabella and Anthony Berman, Belfond, 372 pages, 20, 50 euros more →
Larouge • By Roberto Arlt • Wednesday, 08/09/2010 • 0 Comments • Print
death Frogwill
writer Frogwill he est mort samedi 21 aout à 69 ans. Fogwill
went as he lived: surrounded by young
l author of analyzed texts died Saturday at age 69. He was fired in the National Library, while the music played he chose.
not cry (much) at the farewell Fogwill. Heard, yes, lots and constant pats on backs that are given and returned, and mixing classical music with your iPod playing in the room Augusto National Library Cortázar. We do not cry (much) because the sadness is there, it also leaves room for the story, laughing at the reunion with nostalgia and claim of the controversies that the author was an expert analyzed texts to wake up. You can hear the Beethoven and Schubert that he specially chose and browse copies of their books belonging to the Library, arranged on a table that is constantly accessed.
And there's something that, at first, striking in the wake of Rodolfo Enrique Fogwill: around him to fire a generation of writers significantly less than he, who was 69 when he died on Saturday for emphysema. The explanation is simple and gave his friend the novelist and poet Damian Rios Entre Rios (1969): "Quique many insist to call it, though he would impose "Fogwill" plain as a trademark was a constant driver of the literature in Argentina. Operations, called and read every day to move new authors, new topics, new approaches and did everything selflessly. He opened the game for the new generation of writers went beyond Alan Pauls and Sergio Bizzio, so is a big gap. "
also spoke of his generosity Horacio González (1944), director of the National Library:" When opened the way for new authors argued for commercial purposes, did not recognize his own good intentions in this event; want to go through a dealer but in the background out a romantic " said, noting the author as "a core of literature Argentina in the last thirty years, with a brilliant poetry that underlies all his work."
John Terranova (1975), novelist, author defined the punk girl as a "dissident": "Although in recent years and did not occupy that place, Fogwill was one of the voices of dissent, which is now off, and that's never good, yet I think it will appreciate a lot your work from now and refloated texts that were not close at hand.
When the controversy disappear constantly created will focus on production and not in words, which often generated rejection. "
journalist Leila Guerriero (1967) highlighted his" alien intelligence "and his" great eye reader, which allowed him to discover new young authors to be in close contact even with smaller publishers, all the time. " They
several colleagues and friends during the afternoon yesterday, the National Library: Alan Pauls, Fabián Casas and Daniel Link, among others. All are alternated between the living room, the entrance gallery to the sector and several tables that were occupied in confectionery Reader Square, just meters away.
Fogwill was heard on everything from claiming the presence and constant affection of his friends was arbitrary, that the last time was very angry that there were things I did not care at all, such as health, and things that was a fundamentalist, as paternity and literature. And that line to get down to work, told Rivers: "Two weeks ago, Quique made a round of calls, not to leave but to give us ideas, approaches, data, to begin to make new books."
Fogwill's voice, controversial, loud, ironic, controversial, not more. Do not cry (much) is his work and a whole new generation of writers that he helped to take shape.
source: www.revistaenie.clarin.com/notas/2010/08/23/_-02207480.htm
when I have time I would translate the article. thank you for you to understand
La Mala Mala
Espera Espera
Marcelo Lujan (Author)
Publisher: Alvik
Collection: RED Months
Forthcoming
By Larouge • Fogwill • Monday, 23/08/2010 • 0 Comments • Print • Larouge
By Marcelo Lujan • Sunday, 15/08/2010 • 0 Comments • Print
The seven madmen
The seven madmen
Roberto Arlt (Author) Julio Cortazar (Author) Isabelle Berman (Translator), Antoine Berman (Translation)
Paperback: 370 pages Publisher
: Belfond (August 12, 2010)
Collection: ROMAN
The rediscovery of a highly controversial figure of Argentine letters. In the Buenos Aires of the 1930s, the fate of a man who, faced with the humiliation, violence and poverty, seeks an escape in dreams and insanity. Driven by writing uppercut, a work-worship, and hailed by Cortazar Onetti. Employed at the Sugar Company, Erdosain got used to tap into the fund. Denounced he is ordered to repay six hundred pesos and seven cents, and discovered the same day as his wife leaves him. At bay, he went to find the astrologer, one so delusional that megalomaniac, who is planning to start a secret society funded by the revenues of a chain of brothels. With him, a melancholy mackerel, an annuitant perverse, pharmacist mystic adventurer gold digger, a corrupt official, a killer lit: seven crazy embarked on a preposterous, seven dropped in the heart of fools slums of the city . And Erdosain in search of a reason to exist, a God who always slips away.
Marcelo Lujan
Marcelo Lujan was born in Buenos Aires, Argentina, in June 1973. He has published
Irene Flores (2004), in a sky (2007), Diversion (2007), expected
Poor (2009) and Burning in the winter (2010), and a dozen short stories in anthologies
several countries. Part of his work has been selected
campaigns to promote reading, translated into other languages, and awarded the prizes
Santa Cruz de Tenerife, Ciudad de Alcalá de Narrativa, Kutxa City San Sebastián
Tale in Castilian and City Getafe de Novela Negra. Other awards won
II Mention in the Premio Clarín de Novela 2005.
lives in Madrid since early 2001. Par
larouge • Roberto Arlt • 15/08/2010 • 0 commentaires Dimanche • Version imprimable
Par larouge • Marcelo Lujan • 15/08/2010 • 0 commentaires Dimanche • Version imprimable
Crépuscule Crépuscule d'automne
d ' automne [Broché]
Julio Cortazar (Auteur)
Broché: 343 pages Editeur
: José Corti Editions (6 mai 2010)
Collection: Ibériques (Poesie)
Presentation Editor
I do not know what makes an unforgettable book but I know that since I discovered Salvo el Crepúsculo in the first Mexican edition, I could never forget. That was in 1984, when the death of Cortázar. A new edition was recently published by Alfaguara, it includes minor alterations made by the author on proofs found. But it has nothing removed or changed, nor disavowed this set of texts from various periods of his life, specially selected and gathered by him. How this book came into my hands, I do not know. I fell in love and then got himself embedded in my memory. Because shortly after I started unsuccessfully to find on my shelves. Since then, at regular intervals, I have not stopped trying to find him in vain. It seemed impossible to have lost or lent to someone and he was gone and I do not consoled. He was dear to me, he kept a special meaning, music, independence, a nostalgia in me who found full resonance. After he published Rayuela (Hopscotch) in Argentina, Cortázar wrote a letter to his friend Fredi Guthman, where he says: "Now the philologists, the rhetoricians, the paid classifications and expertise to unleash, but we are on the other hand, in this land free and wild and delicate as possible and poetry comes to us like an arrow of bees ...".
read more here
source: www.jose-corti.fr/titresiberiques/crepuscule_cortazar.html
Twilight Fall
The interrogator
I do not question the glories or snow,
I want to know where the swallows found dead
are going matchboxes waste.
As big as the world
ago fingernails cut, frayed, tired
envelopes, eyelashes falling.
Whither the mists, the filing of coffee, almanacs
another time?
I asked about the emptiness that drives us;
I assume that in these cemeteries
fear grows gradually
and that's where the Rokh smoldering.
Immerse yourself immediately, "Take these eyes, colored gems / totem that nose, those lips that know / multiplication tables and the most selected poems /. I give you the whole face with the tongue and hair / I gouge my nails and teeth and I complete the weight. / It is not used / to feel this way. / Ni memory, reheated meals / nor attention, as a pe-tite parakeet pernicious. "Read poetry
Julio Cortazar, is learning to type to turn the heel of drunk wry observation of hope. Testament motley, scarred with pain and joy, this autumn twilight was assembled by the author at the end of his life before a leukemia does prevail in Paris, nth exile in 1984. A nostalgia that goes ahead, solar and biting, illuminates these writings on love, composed at various stages of existence as exalted qu'insoumise. Cortázar likes of Argentina, his homeland ("Airs South, responsible for whipping sand / bird into pieces and ants, / Hurricane teeth lying on the plain / where men spend the stomach feel dead ") and women (" We'll stay only my pillow and my silence / and the window will look unnecessarily / boats and bridges that put on their hands. I say: It is already late. / I n'auraipas of answer my gloves or the comb, / seu-ing your smell, your scent Forgot / like a letter left on the back of the table). Remarkably translated by Silvia Baron Supervielle, this poetry is striking in its musical hit, bloodless and sudden impulsive. The dark there is a temporary shelter for more then bask in the light and feel the sweet cha-their independence, "the free territory, wild and delicate as possible and poetry comes to us like an arrow bee ... "
Navy Landrot, Telerama, 12 to 18 June 2010
Song of the sign
He died the year this book was published (1984), delivers ultimate if any, as Julio Cortázar's true that there are working as we do (imagine) with a will, with care, decrease tension and extreme. Volume surprising funnel of the past and present, it includes texts - "the péomes and PROSEM" or even "Meopa - unreleased (except magazines), or having been an edition by the author craft and fun "known rare mouse." These "papers accumulated over four decades of Four" (ie 44 years?), Only the principle of creative freedom and met; freedom (key word) who abandons pride, vanity or pretense, that ignores the challenge and is dedicated to research, one feels sometimes quiet and sometimes fever, an overview of self. Research that was not obvious: "I approach this book cursed softly, I tried an order, sequences, I mix and untangles, shit." One of the greatest writers of Latin America-certainly has nothing to prove, his talent (writer, storyteller and novelist Pattern, Winners, Secret weapons, Stories cronopes and famous. Book of Manuel and many others - is recognized the world. At the outset he states his refusal of the method, and the discourse (logos) "speech of non-method, method of non-speech, and so going on. / The best not start: approach where we can. No timeline, the map is so blurred that it is not worth the effort. " Lack of structure, therefore, unexpected progression and sensitive, almost erotic, exploiting the "mild sensuality of a combination that mimics the game of love."
Because the book - we expected no less from the author of Hopscotch - to take himself to the subject, not to cause the player in strenuous set abyss, but to make visible the process that makes it exist. "Organizing this book, as already some others, continues to be for me a random process that moves my hand as the stick of hazel that moves the dowser." That the process is no less important than the result, the reader collects rapidly through this desire - humble - to achieve a new synthesis, a further understanding of the man was the author of these texts: "I want a poetic ecology, watching me and recognize me sometimes from different worlds." The truth is however, not to find, but to forge and one who has continued to cancel the split between logic and absurdity, and making imaginary worlds as realistic, not surprising to hers what about Clarice Lispector: "I do not want the terrible limitation of those who saw only what is able to make sense. Me neither: I want a invented truth. "
Maieutics of this truth is played mostly in favor of heterogeneous, in the (in) aesthetic layering of genres, themes and poetic. The texts themselves being invested clean energy: "I saw things written, fairly obscure texts where they fought their way we like it or not, and had to leave" them into a heterogeneous whole, exploded, in defiance timelines or taxonomies, increases the internal strength, and leaves a chance to invent, by short-circuit, a new brilliance. Nothing mystical there, "There is no risk of solemnity in all this." Those who have read Cortázar know how much the pathos is foreign as a fetishization of literature. But this man has lived a lot, between a final departure the father went out to get cigarettes, refusing to Peronist regime of the teacher he was in the pampas, exile in Paris, the commitment towards the Cuban revolution, and many loves, rough, lonely, compulsive reading , nights of feasts banned ... So that one would synthesis we can hope, precisely, juxtapose, play together, these disparate elements - 'foam bell diaspora / palingenesis, fern, / / it and jam Calabash, / the Troilo bandoneon ... "- Ignoring the principles of analogy or otherwise. In "Observations on the che-min," imbued with a Buddhist spirit of which he was a connoisseur, Cortazar made this vow: "Behind all sadness and all nostalgia, I want the reader feels the same burst of life and gratitude someone who was so beloved, "and the" sense of participation, without which I would never have written anything. " Other
bulwark against corrosion of daily life ("everyday life, that is to say what is vomited, felt, intolerable for ever"), the dream. The dialectic between the breadcrumb waking life and dream contributes to identity volume, which regularly raised the specter of "when we tied our shoes shiny." The stakes are high: "(...) since I always knew that this writing - poems, short stories, novels - is the unique setting given to me for me not disoudre in this man who drinks his coffee morning and goes out into the street to start a new day "... but far from being won, 150 pages later, "I think I'm this guy who comes out / every day at nine o'clock." And drops the nagging question, perplexed: "When my life, but when?
Revolt indeed Element essential to the creation cortazarienne as leitmotif but also as a mobile value and must serve the literature, is a constant in Autumn Twilight. Not being subjected to social order: "Cry your appointment or your diploma / (...) in which the vast plain of you I nailed a small piece of land which thou acquit / quarterly installments. Formatting breast: "Oh, see my mother / and tore his eyes" (the representation of the mother, to say, escapes understatement). Replete with comfort and routine of the literary establishment in Buenos Aires: "Obviously, I fell into the trap, and how, but (...) I tried to get out in the dark from poetry, short stories, exile. " In bourgeois morality, a lover and indefatigable he was disillusioned: "The so-called polygamy and who is / fear of losing so many windows / on so many landscapes, and hope / d a comprehensive review. " The dictates of good talk through the "word distracted," the "Babel" (mixture of languages), or "long speeches (...) perfectly absurd for a celebration almost exclusively." Literary modes finally, enjoyed practicing (poor sonnet), "uchronic rather qu'anachorinique, coming from a" time when abstraction and form sufficient to happiness "but more lyrical desire, and all of azure sea of red roses, fragrant flowers of tunes.
The most surprising, perhaps, is to discover that Cortázar is considered just as a poet, and this calling is the sinews of the book: "the perpetual hope of killing a flower or a bee in column transparent plexiglass sonnet. " Certainly, there are short prose beautiful, tight but fluid bearing worlds, which fold and unfold, as the stuff Deleuze, sections and views of the world lives on: the description of a lesbian party, or a chapter not included in the book Handbook on a prostitute. But the volume has much more poetry than prose, the author says her "certainty that, as they were, the poems kept in their little jars Cartesian kernel most personal to me it would be given to write. " Indeed, those in free verse, where "I do not question the glories nor snow, / I want to know where to find the swallows / dead / where boxes will match worn, "reads a bit of experience and truth: parties, drugs and music, and love Paris ... Any other tone in the ring around (or against) the monuments dedicated (Etruscan and Roman tombs, stained glass of Bourges, vase of Vatican), including the beautiful "Our Lady of the Night", true indictment against imposed values: she " beggar, bitch serious, "he," but I stand and hold me: / sleep, crystal imbroglio. I am your border, your bleeding stumps into the clouds. "
So much still to find, verses on love and faces its shame over time to which we lack the passion for poets from all over the world, on constant look for "Eurydice Argentina" ... Cre-dusk, winter?
Marta Krol, the registration number of the Angels, No. 114, June 2010
The random things sometimes wonderfully. Just when published in the Bibliotheque de la Pleiade "- after so many vicissitudes - the last two volumes of complete works of Borges, that here before us a volume of capital, hitherto unpublished in French, poems the author of this Pattern that was all the rage in the sixties by proposing immediately, from the initial warning, a random reading of the chapters in this massive novel.
Poetry, as understood by Cortázar, already entered into many such tactics. Faced with impeccable rigor of the old master, the newcomer wanted to occupy a position quite opposite, by claiming implicitly surrealism and creative freedom of imagination in life itself.
"Do not start, approach by which we can" is the advice he gives here immediately to his prospective reader in a paragraph incomplete. Focus free verse or the prose poem, inventing forms without refrains to explore here and there with a fresh one, very old, the sonnet, which Borges had just shined, that is his position, where the live and write closely intertwined. "I have nothing against my waking life" - adds further Cortázar - "but not by it as I write. Very early, I went from writing to life, from dream to watch. Life in a store of dreams but the dreams restore the reserve currency of life. "
Two poems from the early pages very different eras of this volume, present a disguised the vows or the foundations of what he means to say or not say, receive or refuse. The first, entitled "To an unknown god," reproduces the myth of the Tower of Babel and implores refrain "Whoever you are / come no more." Misdeal ago, he argues, teachers of rhetoric enthusiasts claim to "codify your laughter in freedom." The second, "To listen with headphones, mixes prose and free verse in a real program of life and creation, an invitation to excel. The great lover of music - all music - That was Cortázar tells with verve with which he knew to show why this process so widespread annoyed the first ("the mere fact of adapting to my ears bother me, offended me, cable s' entangling the shoulders and arms preventing me to go in search of a drink ") and how he adopts for the sake of others, which creates a new form of understanding of music which he analyzes the consequences at the very moment when the prose is transmuted into free verse in his own text, "so / that the music does not come from the earpiece, it pops up almost to myself, I am my listener. One more step, return to prose, and his idea of poetry - his own - expressed with happiness arises: "How not to think, then, that somehow the poetry is a word that is listened to with headphones invisible when the poem begins to exercise its spell. That is certainly an essential formula for understanding Cortazar. We cross the years with a series of poems dating from 1976 in Nairobi (where there was general conference of Unesco, which then employed him as a translator). These are texts often filled with humor, but humor that does not make this time of the Surrealists, a little British humor in a way, what in an Argentine is altogether natural history of this country is that it was, "It is incredible to think that twelve years ago / I had fifty or more, no less. How could I be so old / twelve years ago? It was at this time that a sudden melancholy exile urges him to write a few words of tangos, some of which will be set to music: "You did not even let / a cigarette in his ear, / I now not serve / listen to Carole Baker / between sips of gin. "A melancholy that brings a moment of Borges who, if he found the modern tangos too vulgar, do no less appreciated their original form, the milonga. A melancholy sometimes so intense that it embedded itself into the bare-poems Cortázar grouped under the title Ars Amandi:
"My exile is softer. He
defenses in reserve
but when I hold you by the hand
in a small street in Paris, I would
until the walk ends at the corner
Montevideo
or my street Corrientes. "
However, as the two advisers imaginary insinuate that he pretends to be surrounded - and Calac Polanco-taste of the game remains crucial home. It is still necessary to find the correct rule that does not accommodate classified by themes, genres and periods, is concerned the poet, who is wary of the way faculty and dares to designate his poems by kinds of puns to evade the spirit of serious (but also perhaps to emphasize the singularity of his inspiration): "I imagine that by the end of péomes appear and that would PROSEM already been included in the assembly, but if this book is not plastic it is nothing. "
What astonishes and seduces however most about this book exceptional is the extraordinary power of Cortázar to endorse the terms-poetic form and tone - the most diverse of his predecessors over the world, while remaining ultimately itself. It seems a little here, in this sense, a sort of Picasso's poetry, with its periods, its multiple themes, its distortions and its variants. Sometimes it approached Greece with the terms of the school of modern poets New York, now he enjoys the parody of a sonnet "Gothic", sometimes he finds the erotic emotions tariffed Aragon du Paysan de Paris, yet sometimes he writes a "Tomb of Mallarme." It takes genius here with these multiple influences and openly acknowledges the weight of exile: "Of course, like Orpheus, I often return to me and to pay the price. I continue to pay today, and I still continue to watch you, Eurydice Argentina. "Jacques
Fressard, Poetry, Literary Fortnight, 16-30 June 2010.
Julio Cortazar, Dusk Fall Collection
Iberians,
Translated by Silvia Baron
Supervielle
2010
352 pages ISBN: 978-2-7143-1027-9
22 Euros
The interrogator
I do not question the glories nor snow,
I want to know where the swallows found dead
are going matchboxes waste.
As big as the world
ago fingernails cut, frayed, tired
envelopes, eyelashes falling.
Whither the mists, the filing of coffee,
almanacs another time?
I asked about the emptiness that drives us;
I assume that in these cemeteries
fear grows gradually
and that's where the Rokh smoldering.
Immerse yourself immediately, "Take these eyes, colored gems / totem that nose, those lips that know / multiplication tables and the most selected poems. / I'll give the whole face with language and hair / I rose nails and teeth and I complete the weight. / It is not used / to feel this way. / Ni memory, reheated meals / or attention, pe-tite as a pernicious parrot. "Read poetry
Julio Cortazar, is learning to type to turn the heel of drunk wry observation of hope. Testament motley, scarred with pain and joy, this autumn twilight was assembled by the author at the end of his life before a leukemia does prevail in Paris, yet another exile in 1984. A nostalgia that goes ahead, solar and biting, illuminates these writings on love, composed at various stages of existence as exalted qu'insoumise. Cortázar like Argentina, his homeland ("Airs South flogging charged sand / bird into pieces and ants, / teeth of Hurricane lying on the plain / where men go belly feel death" ) and women ("We'll stay only my pillow and my silence / and the window will look unnecessarily / boats and bridges that put on their hands. I say: It is already late. / I n'auraipas response of my gloves or comb, / seu-ing your smell, your scent Forgot / like a letter left on the back of the table). Remarkably translated by Silvia Baron Supervielle, this poetry is striking in its musical hit, bloodless and sudden impulsive. The dark there is a temporary shelter for more then bask in the light and feel the sweet cha-their independence, "the free territory, wild and delicate as possible and poetry comes to us like an arrow bee ... "
Navy Landrot, Telerama, 12 to 18 June 2010
Song of the sign
He died the year this book was published (1984), ultimate book if any, as is true Julio Cortázar are working as we do (imagine) with a will, with care, and voltage drop extreme. Volume surprising funnel of the past and present, it includes texts - "the péomes and PROSEM" or even "Meopa - unreleased (except magazines), or having been an edition by the author and craft fun "known rare mouse." These "papers accumulated over four decades of Four" (ie 44 years?), Only the principle of creative freedom unites; freedom (key word) who abandons pride, vanity or pretense, that ignores the provocation and dedicated in research, one feels sometimes quiet sometimes feverish with an overview on itself. Research that was not obvious: "I approach this book cursed softly, I tried an order, sequences, I mix and untangles, shit." One of the greatest writers of Latin America-certainly has nothing to prove, his talent (writer, storyteller and novelist Pattern, Winners, Secret weapons, Stories cronopes and famous. Book of Manuel and many others - is recognized worldwide. outset he states his refusal of the method, and the discourse (logos) "speech of non-method, method of non-speech, and so going on. / Best does not start: approach where we can. No timeline, the map is so blurred that it is not worth the effort. " Lack of structure, therefore, unexpected progression and sensitive, almost erotic, exploiting the "mild sensuality of a combination that mimics the game of love."
Because the book - we expected no less from the author of Hopscotch - to take himself to the subject, not to lead the reader into the abyss tiring set, but to make visible the process that fact exist. "Organizing this book, as already some others, continues to be for me a random process that moves my hand as the stick of hazel moves that the dowser. " That the process is no less important than the result, the reader collects rapidly through this desire - humble - to achieve a new synthesis, a further understanding of the man was the author of these texts: "I want a poetic ecology, watching me and recognize me sometimes from different worlds." The truth is however, not to find, but to forge and one who has continued to cancel the split between logic and absurdity, and making imaginary worlds as realistic, not surprising to hers what about Clarice Lispector: "I do not want the terrible limitation of those who saw only what is able to make sense. Me neither: I want a invented truth. "
Maieutics of this truth is played mostly in favor of heterogeneous, in the (in) aesthetic layering of genres, themes and poetic. The texts are themselves invested with clean energy: "I saw things written, fairly obscure texts where they fought their way we like it or not, and had to leave," integrating them into a heterogeneous whole, fragmented, in defiance of chronology or taxonomies, increases the internal strength, and leaves a chance to invent, by short-circuit, a new brilliance. Nothing mystical there, "There is no risk of solemnity in all this." Those who have read Cortázar know how much the pathos is foreign as a fetishization of literature. But this man has lived a lot, between a final departure of the father went out to get cigarettes, refusing to Peronist regime of the teacher he was in the pampas, exile in Paris, the commitment towards the Cuban revolution and then the many stormy love, loneliness, compulsive reading, nights of feasts banned ... So that one would synthesis we can hope, precisely, juxtapose, play together, these disparate elements - 'foam bell diaspora / palingenesis, fern, / / it and jam Calabash, / the Troilo bandoneon ... "- Ignoring the principles of analogy or otherwise. In "Observations on the che-min," imbued with a Buddhist spirit of which he was a connoisseur, Cortazar made this vow: "Behind all sadness and all nostalgia, I want the reader feels the same burst of life and gratitude of someone who was so beloved, "and the" sense of participation, without which I would never have written anything. " Other
bulwark against corrosion of daily life ("everyday life, that is to say what is vomited, felt, intolerable for ever"), the dream. The dialectic between the breadcrumb waking life and dream contributes to the identity of the volume, which regularly raised the specter of "when we tied our shoes shiny." The stakes are high: "(...) since I always knew that this writing - poems, short stories, novels - is the unique setting given to me for me not disoudre in this man who drinks his morning coffee and heads out into the streets to start a new day "... but far from being won, 150 pages later, "I think I'm this guy who comes out / every day at nine o'clock." And drops the nagging question, perplexed: "When my life, but when?
Revolt in fact, essential to the creation cortazarienne as a leitmotif, but also as a value, and mobile to serve the literature, is a constant in Autumn Twilight. Not being subjected to social order: "Weep your appointment or your diploma / (...) which in the vast plain of you I nailed a small piece of land which thou acquit / quarterly installments. Formatting breast: "Oh, see my mother / and tore his eyes" (the representation of the mother, to say, escapes understatement). Replete with comfort and routine of the literary establishment in Buenos Aires: "Obviously, I fell into the trap, and how, but (...) I tried to get out in the dark from poems , new, exile. " In bourgeois morality, in indefatigable lover and disillusioned he was: "What is called polygamy and who is / fear of losing so many windows / on so many landscapes, and hope / of a comprehensive review." The dictates of good talk through the "word distracted," the "Babel" (mixture of languages), or "long speeches (...) perfectly absurd for a celebration almost exclusively." Literary modes finally, enjoyed practicing (poor sonnet), "uchronic rather qu'anachorinique, coming from a" time when abstraction and form sufficient to happiness "but more lyric to perfection, and all of azure sea of red roses, fragrant flowers of tunes.
The most surprising, perhaps, is to discover that Cortázar is considered just as a poet, and this calling is the sinews of the book: "the perpetual hope of killing a flower or a bee in column transparent plexiglass sonnet. " Certainly, there are short prose beautiful, tight but fluid bearing worlds, which fold and unfold, as the stuff Deleuze, sections and views of the world lives on: the description of a lesbian party, or a chapter not included in the book Handbook on a prostitute. But the volume has much more poetry than prose, the author says her "certainty that, as they were, the poems kept in their little jars Cartesian kernel most personal to me it would be given to write. " Indeed, those in free verse, where "I do not question the glories nor snow, / I want to know where to find the swallows / dead / where will the waste matchboxes", reads one strand experience and truth: parties, drugs and music, and love Paris ... Any other tone in the ring around (or against) the monuments dedicated (Etruscan tombs and Roman, stained glass of Bourges, vase of Vatican), including the beautiful "Our Lady of the night," real indictment against the values imposed: it's "beggar, bitch serious," he, "but I stand and I support: / sleep, crystal imbroglio. I am your border, your bleeding stumps into the clouds. "
So much still to find, verses on love and faces its shame, the time that we lack the passion for poets from all over the world, on constant look for "Eurydice Argentina "... Cre-dusk, winter?
Marta Krol, the registration number of the Angels, No. 114, June 2010
The random things sometimes wonderfully. Just when published in the Bibliotheque de la Pleiade "- after so many vicissitudes - the last two volumes of complete works of Borges, that here before us a volume of capital, hitherto unpublished in French, poems the author of this Pattern that was all the rage in the sixties by offering immediately, from the initial warning, a shuffle of the chapters in this massive novel.
Poetry, as understood by Cortázar, already entered into many such tactics. Faced with impeccable rigor of the old master, the newcomer wanted to occupy a position quite opposite, by claiming implicitly surrealism and creative freedom of imagination in life itself.
"Do not start, approach by which we can" is the advice he gives here immediately to his prospective reader in a paragraph incomplete. Prefer free verse or the prose poem, inventing forms without refrains to explore here and there with a fresh one, very old, the sonnet, which Borges had just shined, that is his position, where the living and writing are intertwined closely. "I have nothing against my waking life" - adds further Cortázar - "but not by it as I write. Very early, I went from writing to life, from dream to watch. Life in a store of dreams but the dreams restore the reserve currency of life. "
Two poems from the first pages of very different eras of this volume, present a disguised the vows or the foundations of what hear or not say, receive or refuse. The first, entitled "To an unknown god" reproduces the myth of the Tower of Babel and implores refrain "Whoever you are / come no more." Misdeal ago, he argues, teachers of rhetoric enthusiasts claim to "codify your laughter in freedom." The second, "To listen with headphones, mixes prose and free verse in a real program of life and creation, an invitation to excel. The great lover of music - all music - that was Cortázar tells with verve with which he knew to show why this process so widespread annoyed the first ("the mere fact of adaptation to my ears disturbed, offended me, cable tangled shoulder and arm preventing me to go in search of a drink ") and how he adopts for the sake of others, which creates a new form of music whose apprehension he analyzes the consequences, at the very moment when the prose is transmuted into free verse in his own text, "so / that the music does not come from the earpiece, it pops up almost to myself, I am my listener . One more step, return to prose, and his idea of poetry - his own - expressed with happiness arises: "How can you not think, for Subsequently, in a way that poetry is a word that is listened to with headphones invisible when the poem begins to exercise its spell. That is certainly an essential formula for understanding Cortazar. We cross the years with a series of poems dating from 1976 in Nairobi (where there was general conference of Unesco, which then employed him as a translator). These texts are often filled with humor, but humor that does not make this time of the Surrealists, a little British humor in a way, what in an Argentine is altogether natural history of this country being it was: "It is incredible to think that there are twelve years old / I have had fifty or more, no less. How could I be so old / twelve years ago? It was at this time that a sudden melancholy exile urges him to write a few words of tangos, some of which will be set to music: "You did not even let / a cigarette in his ear, / now I do not serve / listen to Carole Baker / between sips of gin. "A melancholy that brings a moment of Borges who, if he found the modern tangos too vulgar, do no less appreciated their original form, the milonga. A melancholy sometimes so intense that it embedded itself into the bare-poems Cortázar grouped under the title Ars Amandi:
"My exile is softer. He
defenses in reserve
but when I hold you by the hand
in a small street in Paris, I would
until the walk ends at the corner
Montevideo
or my street Corrientes. "
However, as the two advisers imaginary insinuate that he pretends to be surrounded - and Calac Polanco-taste of the game remains crucial home. It is still necessary to find the correct rule that does not accommodate classified by themes, genres and periods, is concerned the poet, who is wary of the way faculty and dares to designate his poems by a variety of puns in order to evade the spirit of serious (but also Perhaps to emphasize the singularity of his inspiration): "I imagine that appear towards the end of péomes PROSEM and which have already been included in the assembly, but if this book is not plastic it is nothing .
What astonishes and seduces however most about this book exceptional is the extraordinary power of Cortázar to endorse the terms-poetic form and tone - the most diverse of his predecessors over the world, while remaining ultimately himself. It seems a little here, in this sense, a sort of Picasso's poetry, with its periods, its multiple themes, its distortions and its variants. Sometimes it approached Greece with the terms of the school of modern poets New York, now he enjoys the parody of a sonnet "Gothic", sometimes he finds the erotic emotions tariffed Aragon Peasant Paris, yet sometimes he writes a "Tomb of Mallarme." It assumes genius here with these multiple influences and openly acknowledges the weight of exile: "Of course, like Orpheus, I often return to me and to pay the price. I continue to pay today, and I still continue to watch you, Eurydice Argentina. "Jacques
Fressard, Poetry, Literary Fortnight, 16-30 June 2010.
Julio Cortazar, Dusk Fall Collection
Iberians,
Translated by Silvia Baron
Supervielle
2010
352 pages ISBN: 978-2-7143-1027-9
22 Euros
Julio Cortazar by Larouge • • Sunday, 08/08/2010 • 0 Comments • Print
By Larouge • ARGENTINA • Sunday, 08/08/2010 • 0 Comments • Print
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