By Humberto Márquez Quino, 1985 (Prologue)
I. Soliloquy on the subject .-
The practice of literature, vast and controversial subject, it may sometimes slip and anchored in theories despicable, who hide their weakness behind a sacred appointment, these fireworks, allowing one hand, save the trouble thinking and on the other, cover the gap with a finger. The research and criticism which is an anthology, bordering the grand circle of subjectivity or objectivity, old pre-Hegelian conceptual tools to be what has always been: an orgasmic intercourse / aesthetic text reader, text with the reader (Tiresias biting its tail): eg the party in the bed of the Parnassus of "male reader" (Cortázar). This act genesic, the ritual of aesthetic pleasure, transferred two areas: the subjective and objective becomes the subjective becomes objective. Designed an anthology like this is useless to demand the "anthology" of the confirmation of our likes and dislikes, because either would ask the poet or pearls pears to the author of this selection. Now, as this fruit is not cute, that is, an egg enclosed in itself, but a river which flows into the realms of poetic language, the flow of the sap, the pendulum in perpetual motion, will have another hurdle to blindness of the reader, do not see.
II. .-
This preliminary breath sample the new Chilean poetry, intends to build, despite the gaps and omissions, a poetic nodule, differentiated from the previous generation, I think Huidobro, De Rokha, in G. Rojas, Parra, Lihn in Neruda, etc., Etc. But that's not made by the board of the literary tradition, it is present in each of the speeches of his poetry. If we understand tradition, not blind adherence to a previously established model, but the transmission, challenged and enriched in a particular cultural flow: tradition is not the negation of creativity and creativity is not the negation of tradition. The relationship between tradition and change, and indicated O. Paz, leads us to think about the quantum leap from the old dialectic: the leap is expressed in a self-consciousness that illuminates the link between reality and language, from uan new aesthetic perspective.
III. The face of the word .-
poeticity forms and, you know, are homogeneous, and therefore irreducible, the poetry of language, provides a chaos generator as well as the significant meanings: poetry is transformed , both in speeches called "sealed" as in those involving transparency.
IV. When night where the hunter?
The taste of this poetry, we encouraged to make certain assumptions, that within the range of interpretations that have been around it: Carlos Kitchen, Floridor Pérez, Valente, etc., are not without interest: 1) Reflection 7 turning on poetic language. 2) The articulation of the poetic language with the social context. 3) The absorption of other sources: the Anglo-American tradition: Eliot, Pound, W. Williams and the revaluation of the self: Huidobro, and G. Parra Rojas before Neruda. 4) The abomination of all rhetoric. This conceptual universe could be expressed as: A) The use of irony as a multi-edged weapon, the poet who stirs in the swamp (Oppressive and unjust society), the poet who turns against itself and tries to regain his human halo; B) The humor, black 7 white 7 red, the fluid in the body that rejects all illusion, the veil to discover the real- real; C) The word that works with your own thread: verbal orgy that has ceased to be a harmless game, to be rigor, precision, beauty: a profession in which life goes. (Who said that?); D) The insertion in the crust of the great monster: the story as an epiphany of rebellion = a rebellion as the epiphany of the story.
V. Justification of the chronology .-
Not a chance (one set of poets do not abolish chance) arbitrary selection that begins with Juan Luis Martínez, his work set a new oral proposal, a break in the opening 7 Chilean lyrical space.
VI. Of the innumerable difficulties of a happy ending .-
The difficult access to texts, for who does not visit Chile, for more than a century, was another obstacle: the diaspora / exile, some of the poets here , handiwork idiot black father and his cohorts. So wretched and wandering, I just hope the benign / malignant reader, the successful conclusion of this parable / Anthology.
VII. The classic
levee .- I wish to record (it is enough!), this text would not have been possible without the generosity of Wiethüchter White, Richard Wilson, Sergio Gaytan, Gonzalo Santelices and journal editors. Gout pure Chilean literature in exile, etc.
I. Soliloquy on the subject .-
The practice of literature, vast and controversial subject, it may sometimes slip and anchored in theories despicable, who hide their weakness behind a sacred appointment, these fireworks, allowing one hand, save the trouble thinking and on the other, cover the gap with a finger. The research and criticism which is an anthology, bordering the grand circle of subjectivity or objectivity, old pre-Hegelian conceptual tools to be what has always been: an orgasmic intercourse / aesthetic text reader, text with the reader (Tiresias biting its tail): eg the party in the bed of the Parnassus of "male reader" (Cortázar). This act genesic, the ritual of aesthetic pleasure, transferred two areas: the subjective and objective becomes the subjective becomes objective. Designed an anthology like this is useless to demand the "anthology" of the confirmation of our likes and dislikes, because either would ask the poet or pearls pears to the author of this selection. Now, as this fruit is not cute, that is, an egg enclosed in itself, but a river which flows into the realms of poetic language, the flow of the sap, the pendulum in perpetual motion, will have another hurdle to blindness of the reader, do not see.
II. .-
This preliminary breath sample the new Chilean poetry, intends to build, despite the gaps and omissions, a poetic nodule, differentiated from the previous generation, I think Huidobro, De Rokha, in G. Rojas, Parra, Lihn in Neruda, etc., Etc. But that's not made by the board of the literary tradition, it is present in each of the speeches of his poetry. If we understand tradition, not blind adherence to a previously established model, but the transmission, challenged and enriched in a particular cultural flow: tradition is not the negation of creativity and creativity is not the negation of tradition. The relationship between tradition and change, and indicated O. Paz, leads us to think about the quantum leap from the old dialectic: the leap is expressed in a self-consciousness that illuminates the link between reality and language, from uan new aesthetic perspective.
III. The face of the word .-
poeticity forms and, you know, are homogeneous, and therefore irreducible, the poetry of language, provides a chaos generator as well as the significant meanings: poetry is transformed , both in speeches called "sealed" as in those involving transparency.
IV. When night where the hunter?
The taste of this poetry, we encouraged to make certain assumptions, that within the range of interpretations that have been around it: Carlos Kitchen, Floridor Pérez, Valente, etc., are not without interest: 1) Reflection 7 turning on poetic language. 2) The articulation of the poetic language with the social context. 3) The absorption of other sources: the Anglo-American tradition: Eliot, Pound, W. Williams and the revaluation of the self: Huidobro, and G. Parra Rojas before Neruda. 4) The abomination of all rhetoric. This conceptual universe could be expressed as: A) The use of irony as a multi-edged weapon, the poet who stirs in the swamp (Oppressive and unjust society), the poet who turns against itself and tries to regain his human halo; B) The humor, black 7 white 7 red, the fluid in the body that rejects all illusion, the veil to discover the real- real; C) The word that works with your own thread: verbal orgy that has ceased to be a harmless game, to be rigor, precision, beauty: a profession in which life goes. (Who said that?); D) The insertion in the crust of the great monster: the story as an epiphany of rebellion = a rebellion as the epiphany of the story.
V. Justification of the chronology .-
Not a chance (one set of poets do not abolish chance) arbitrary selection that begins with Juan Luis Martínez, his work set a new oral proposal, a break in the opening 7 Chilean lyrical space.
VI. Of the innumerable difficulties of a happy ending .-
The difficult access to texts, for who does not visit Chile, for more than a century, was another obstacle: the diaspora / exile, some of the poets here , handiwork idiot black father and his cohorts. So wretched and wandering, I just hope the benign / malignant reader, the successful conclusion of this parable / Anthology.
VII. The classic
levee .- I wish to record (it is enough!), this text would not have been possible without the generosity of Wiethüchter White, Richard Wilson, Sergio Gaytan, Gonzalo Santelices and journal editors. Gout pure Chilean literature in exile, etc.
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