Mariano Pérez Carrasco / From the new sole criterion (On the historiography of progressivism koinè Argentina) Ricardo H. 
Wirklich, ich lebe in Finsterer Zeiten!
B. Brecht, An die Nachgeborenen
History is a problem. First, it is difficult to establish what is a historical fact. From everything we read in the newspapers, what is history, what does the mere chronicle? If you want stories in 2007, is sufficient to list all the facts they acquired certain state public in that period? Or will that also give them some sense? The vast majority of historians are inclined to the latter. Alain de Libera, for example, states that "a historian should describe a system, not a collection of facts, but were in themselves acts of disorder." This principle raises historiographical an obvious difficulty: on the one hand, history has subsumed systems and order facts, ie, that give reality (understood as all the facta) a sense that may not be possible to find it, on the other side the reality (that of Their development should account history) appears to be mere facts, often unrelated, purely contingent, and therefore, only frames (meaning) in a system if they are violent in any way. In short, the paradox that arises is the following: the historical reality seems to be reduced to a historiographical, but unless it is reduced to a system, the mere sum of facta appears as unintelligible, as lacking meaning. Hence the temptation of philosophy of history to shift the meaning of the reality system, postulating, but this is begging the question-first intelligible structure of reality itself, ie reversing the direction of the vector, which, in first case the system is to reality, while the thesis of the philosophy of history actually goes to the system.
These general problems posed by an article by Martin Prieto on the history of Argentina's recent poetry. Like his short history of literature in Argentina, this article has a strong polemic, which, in one way or another, invites discussion. But also of these general problems, which require writing lengthy treatment of a philosophical text, not essay-Prieto article presents another series of controversies, as opposed to the universal nature of the first problems, I would call, not a pejorative sense, " provincial. " In fact, this set of problems concerns exclusively the province of Western literature and English-literature that is Argentina. These problems are a particular instantiation of the general problems identified, and involved. Prieto
The article is divided into three parts, corresponding to the three moments of the new history'' Argentina's poetry'': first, the emergence of neo-baroque and objectivist, which would install a new 'library', ie a new tradition, and second, the emergence of epiphanic'',''considered the reaction of the old against the new, finally, a realistic approach to the literature of Argentina.
Chief among the many points of interest raised by the text of Prieto lies, in my opinion, the will to draw more than a mere overview of the last 20 years of poetry Argentina: Prieto wants to make history, ie interpret the facts, give-or find them- meaning. Hence, the first paragraph should begin with the statement that "any national literature is a process in which relatively compelled ultimately must enter unimportant issues, books, magazines, authors, controversial, which touches the rod rigorous history but not the gold dust of literature. " Here's an important definition: the history of national literature would be a process, that is something that moves (giving) forward (pro). This case (as is not shown and, indeed, is not demonstrable unless previously made a profession of faith in some kind of providence, secular or sacred, no matter) all axiological structure Article. However, this is an important detail, at no time indicates where advances this literature.
The historical process of the new poetry Argentina start with a political fact: the return of democracy. It may be coincidence, and I must say Prieto assumes the conventional nature of their dates, and anyway, this convention is full of meaning, "but the facts that Prieto noted as the beginning of this process are dated in 1983 (publication of a Failure enhestar gold ear, H. Piccoli and text silent, T. Kamenszain) and 1984 (the publication of Arthur and I, A. Carrera and JC Martini magazine Real). The book Kamenszain has, "says Prieto-arming the value of" a tradition of poetry landmark Argentina ", the tradition meets the following names: Oliver Girondo, John L. Ortiz, Macedonio Fernández, Francisco Madariaga. With these poets Kamenszain built "fictional father" (the term is Kamenszain) that lacked the poetry of Argentina, "orphan" continues Prieto-of figure and voice of a poet as César Vallejo, Pablo Neruda and Nicanor as Parra, all of continental influence immediate and verifiable. " A few years later, in 1986,''Kamenszain performs the same read operation,''but rather than build a Golem (the expression is Kamenszain) undique collatis membris ("meeting with members of all parties"), "this time we can say that Osvaldo Lamborghini emerge from our laboratory as young tatita that has dominated us." The objective of both''operations''is the same: find a fictional father. It is important to notice consciously fictional character of this bond of parenthood, it implies a deliberate attempt to deny or forget existing parents: it is clear that our literature has not started from scratch in the '80s. At that time there was already an important national tradition (strike naming names), the heir and continuation of a tradition European inherited and, in turn, the Greek and Latin literature.
Another event marking the beginning of the "new poetry" Argentina is the emergence of neo-baroque Perlongher hand. This has, according to Prieto, "contradeterminante historical value," because with the advent of democracy, the expectations were on "the emergence of a new poetry committed, realistic and renewed militant colloquialism, close to the teachings of Juan Gelman connect with the tradition symbolically represented by Raul González Tuñón. " Neo-Baroque property of poetry was to have been validated "as a new beginning of its reactive nature, its ability to promote almost immediately to its breakthrough, a string of challenges "that, surprisingly, did not come from maximalism seventies-that is, committed and militant poetry, but the minimalist objectivism Journal poetry. Objectivism, for reacting against the neo-baroque unexpectedly, having with him a "character contradeterminante."
Although opposites in their ideologies aesthetic (objectivism appears, in terms of Helder Garcia, as an "implicit or explicit censure of the neo-baroque"), both neo-baroque and objectivist would agree on "the formation of a new Argentina poetry reading and the subsequent reformulation of a national tradition. " But this is not the only coincidence objectivist neo-baroque and agree in the reevaluation of many authors, and, above all, their openness to Latin American literature. At this point there would be an important new poetic as previous generations have put their interest preferably in European or American literature, turning its back on Latin America. The last point of agreement is that "the new objectivist" is valid, as the neo-Baroque, "from its reactive nature, its ability to promote almost immediately to its breakthrough, a string of challenges. " Of these challenges, "the most important and widespread consequences program was signed in 1991 which Ricardo Herrera in his book The time epigonal, entitled''From''maximalist minimalism."
So far, Prieto explained, on the one hand, a map of who's who in poetry Argentina in the last 20 years, on the other hand, has played an interpretive scheme that orders the succession of names and publications in a significant story. This realato begins with a political fact, the''return''of democracy, and the appearance contradeterminante'''' poetic movements of two opposite styles but largely identical proposals: Neo-Baroque and objectivism. These two movements represent positive when Prieto's argument, with reference to the trial begins the moment Herrera negative. If the first moment represents the''new'', this second point represents''old.'' Prieto says explicitly, "value for Anadón is the same as installing Herrera in Argentina poetry: old age." Of course, aging does not refer to a chronological approach but aesthetic: while the neo-baroque neoobjetivistas and want to break what they see as the tradition quintessential-oficial''-history''and begin a tradition more or less than zero, Herrera and epiphanic''''see themselves as followers of the various traditions that make up the history of Western poetry. Some want to break with the past, others continue it, keep it and change it.
Here are some problems: what are the reasons that support the conclusion that the poetic value of Herrera and so-called''old age''is epiphanic? And, because the old is taken by an impairment of value, can''the new''simpliciter be considered a value? Granted that this is so what is its basis? What is the basis of novelty? In answer to these questions will find the following paradox: Prieto arguments confirm and validate what they are designed to refute and criticize. Not to be messy and take up too much, I will only texts and issues referred to by Prieto in his essay.
In "The maximalist minimalism" Herrera proposes a reading of objectivist phenomenon: the minimalism sought Objectivists would not really more than a maximalist who has lost his faith. The seventies was a grand poet even in his jokes, because their aim was redeemer, he was indeed a prophet of the impending revolution. Its themes could be lower, but the horizon was huge, framed, as it was, in the belief system of revolutionary eschatology. His word was justified since announcing the end of time. This faith is broken in the '80s. This phenomenon is not only Argentina, even in Latin America: this is a global movement that has been called neo-liberalism''conservative''or''revolution.'' What was that Herrera claimed to wear "the ideological support of his poetic practice, [the poet maximalist] was suddenly placed in a quagmire where it was impossible to balance lyricism and reality. " The revolutionary faith acted midway between poetry and reality, for example, between the particularity of the man who falls in love and the universality of the values \u200b\u200bthat form part of the reality and manifest, among other places, in that same love. So Bielsa, or Gelman or Silvio Rodriguez had been able to say they loved with the same hand that the gun empuñarían release. The procedure is not new: Catholics interpreted the Song of Songs, a love poem, as the relationship between the Church and Christ. Success Herrera argumentative text is to be able to show, by analyzing texts Freidemberg, Aulicino, Perednik, Samoilovich-how maximalism is the ideology (in the sense of belief system) that holds the objectivist minimalism advocated, among others, Journal of poetry. Herrera is analyzed apart, dissociated, decomposed, the read operation''objectivism''that minimalist done with the past and himself, the''operation''is that Prieto presented uncritically as a natural and therefore could not give any foundation other than the arbitrary act of the will of those who started this movement. This arbitrariness is what the term denotes contradeterminación'''': Against all odds, "said Prieto, after the dictatorship would not have returned the maximalism seventies, but, apparently ex nihilo-minimalism emerged: the aesthetic objectivism. But Herrera's essay rightly pointed out that after the dictatorship had been a genuine minimalism (pure interest in the consigned items, small stories, the seemingly insignificant), but that what was presented as such was in fact a maximalist he had stopped believing in itself and therefore adopted a cynical, bitter and contempt for those who loved before if only as a medium: words. And indeed, cynic is one who, unable to understand and appreciate the achievements of other men tried to explain how hypocrisy, lies or deception, so despises and mocks everything that appears as a noble or worthy of admiration. Thus, poets minimalist, "said Herrera, first displayed disregard all that has traditionally been understood by poetry (themes, meter, rhyme, rhythm), and aim to establish a tradition of zero, on the other side, and this was the main thrust of Herrera, the founding gesture contempt and that find their basis in an inordinate desire for transformation, where the object of this transformation is the sensitivity of man remained ultimately maximalist: transform man had said Rimbaud, transforming society, Marx had said. This explains why for this ideology "existential attitude and political commitment continues Herrera-are more important than the aesthetic achievements. But having to deal with aesthetic and not political achievements, both levels are intertwined and confused. " Herein lies the tartuffery own Objectivists or minimalist: its political failure is embellished with poems, and the mediocrity of his poems is''justified''silenced the voice that makes political-aesthetic object appear (the town, the transvestite The Bailanta, or that entelechy is''women''to some feminists.) I quote a passage from the essay "Militancy and frivolity", also including epigonal Time, which is particularly clear on the positions of Herrera:
"There are two attitudes that gather Argentina poetry now militancy and frivolity. This militancy-an oblique way of activism, is not exclusively political, but involves a politicization of the sensitivity for the sake of the cross he intends to carry out. Unlike the 60's generation, which was frankly political activism and moved between a sad pity for the exploited man and an ironic and merciless critique of the metaphysics of the operator, an important part of the current membership is in the hands of women. Indeed, feminist poetry Argentina has emerged in recent times to meet exactly the requirements of membership by the mere fact of having set the sensitivity: it is defined by opposition, against the''arrogance of a phallocentric tradition [...].'' It would be a mistake to believe that frivolity is the polar opposite of this attitude, on the contrary, both are defined in relation to common interests and keep a relation similar to having a face and Macara. Yes, the phallocentric tradition'''' can be defeated not only the frontal attack, but also the iconoclastic and contemptuous of those who blithely refuses to take it seriously. "
Minimalist in his words, objectivism hid a maximalist in his heart, that is, in his metaphysics, which led him to adopt, once failed political activism, various forms of cultural activism. That militancy matter the same contempt for the past than Lenin to comment, before the great bell of Westminster: "This is the Big Ben", referring to the possessive to the entire bourgeois culture.
Prieto said, as the first criticism, that the reading Herrera holds the texts Journal of poetry is "deliberate and circumscribed." Of course it is, much like the one I am making the text or that he makes the texts speak of poetry. None have read all the publications of the other, and therefore conducts readings circumscribed, any reading, even the least adjective, is intentional: the act of reading is in many ways, an intentional act.
But the most important critical Prieto Herrera claims is the thesis that speak of poetry is an inverted mirror of poetry journal. Thus, the aesthetic ideas of what they called the''Prieto Herrera Faction''was presented as a mere reaction against innovation proposed by the Journal, "where innovation is Journal, Talking is verbiage, babble, cry." Indeed, much of what has been published in the Journal is babbling, screaming and verbiage, only those who have seen it published an innovative, so that's what it is to substantiate what is the reason which these screams are actually an innovation, and are not mere vanity or facility. The real reason, Herrera pointed out, is political, maximalist, and not purely aesthetic. This will see Prieto, who said that "Poetry Talk intervention is primarily contesting, from the belief (which and the texts analyzed and the exalted adjectives which are scored corroborate) that objectivism is the continuation by other means, the colloquialism antipoetic and sixties, that is, again, the idea that minimalism''objectivist ' 'would be opportunistic maximalist version Sixty Seventy is the true nemesis to speak of poetry is to exorcise. " Here I think that reductionism is too much to lie.
Prieto is right when he says that reading both magazines carried out in the current poetry is contradictory, and what is exalted in an often criticized in the other. The falsity lies in the reductionist claim that the character is eminently Talk Challenger, is negative. Discuss what is proposed with an aesthetic that is not based on novelty, on the basis of this criterion, has spread the work of many contemporary poets, Argentine and foreign-direct little known or unknown in Argentina. Only the selection criteria is not see who or what is breaking this or that poet, but intimate quality of his verse, with its beauty, with the rhythms it evokes, with small or large variations that can be out on metrical forms, and, of course, only one ear used to hearing these melodies can to see exactly the same way that a hearing has not been cultivated in listening to classical music, and called educated to appreciate it must be cultivated, not because they despise popular music, often watered the learned judge is incapable of execution, or to perceive the nuances of various composers orchestras.
The same Prieto Herrera cites a sentence where it is perceived that their goal is not a challenge, but the criterion trial, "the new, refreshing and so young," says Herrera-categories are fictitious, arbitrary and opportunistic. " The struggle between the new and the old has gone through the history of culture, and has purchased several ways: remember, as an example, the battle that occurs between Arimaspiens Rabelais and Néphélibates in Le quart livre, or dispute between antiqui and modernization in the Middle Ages. But in these cases, modernization does not base its superiority in its newness, but other values, such as that possessed a higher logic than that of old, as in the case of Peter Abelard in his quarrel with Bernard of Clairvaux . Herrera challenges the new per se, but used as the sole discretion of the trial. Does not interpret and Prieto, who sees in this line Herrera pure 'challenge of the present ", which is why Prieto argues that' talk of poetry installed in Argentina a paradoxical poetry new value: the value of the old. " This does not in any way be inferred from the words quoted in Herrera, this type of apparent inferences are called fallacies, in fact, the claim that the new is not a value is not clear that the old it is. While it is clear that this assertion, central to the argumentative structure of text-Prieto is logically false, it is also from a psychological point of view, anyone who reads the essays or the poems of Herrera will see that or appreciate all the past qua past or present qua despises all this, what is challenged is the chronological and evaluative criteria. Finally, when negative values \u200b\u200bappear of novelty, always happen in the context of a polemic contrast to the progressive Koine says a certain interpretation of the new trial as the main criterion. To illustrate this communis opinio progressive take an example from the text of Prieto, which states that the work of Gambarotta "had become a kind of emblem of the new-value that still does not really know how to read, as noted Samoilovich in his review of the book (''beautiful in a kind of beauty unknown'') - which was that the Journal, as a whole, came to promote and install, in the tradition of the avant-garde. " I do not know how something can be attributed to a predicate is unknown, what sense does the statement''the white wall is a kind of unknown white?'' This kind of absurd to assume the new drive as the exclusive value of trial.
At the beginning of this essay, I noted that the text of Prieto supports the thesis that seeks to refute: that the objectivist minimalism is really a masked maximalism, embarrassing. This is apparent in the criticism of Paul Anadón and the final statement of realism. Anadón
is considered a "young old" who participates in the "ideology Herrera». As proof of this ideology, Prieto cites the following text Duckling "is the dominant tradition of transgression endless, as it were an infinite placement of whiskers on the Mona Lisa, one hundredth of the artistic statement of the urinal. If the transgression, of course, is useful and necessary when the standard has become stifling, once the rule is you have not conceived as such, the continuous violation is resolved banality into insignificance. I think it's time to forget about being innovative. " The text is clear. Prieto What are you reading it? "Certainly," said Prieto, "in the unconscious hearing from any reader of poetry Argentina (unless, perhaps, that of Anadón, which seems not to have) the sentence, his sentence is inscribed on the proclamation lugoniana 1924: ''Has come for the good of the world when the sword''. " Anadón is discussing aesthetic positions, and if at some point politics is rightly mentioned by statements such as that Prieto holds the comment to Anadón, with the explicit goal of linking their aesthetic positions with filofascistas political positions. The bad faith of this approach is obvious. A little further back to consult the file to discredit an opponent of discussion related to the field in question as''bad policy'': on two occasions said that the terminology is Anadón the daily La Nación, antikircherista. What has to do here appeal to the business cycle of a newspaper controversy or social class with the government? No matter what the position is taken in this regard, the point is irrelevant as it has no argumentative value in the context of the discussion. But really, does have a value, if not argumentative, rhetorical, for he who states what is a minimalist aesthetic has overloaded their positions with the inordinate desires of maximalist embarrassing. Let me be clear: I am not here challenging the legitimacy of political maximalism, it has always been speed and attempted breaking and founding an order of another, it seems that since we do not live in the best possible worlds will be. I think it is desirable to trigger revolutions, but it seems inevitable as long as it lasts and deepens the current state of inequality. What do all these beliefs to do with my aesthetic judgments? Nothing, because my aesthetic judgments are not based on my political preferences. If I am moved by the verses of Juan Ramón Jiménez or Louis Aragon, the reason lies in the verses themselves, not the political position of their authors. I have often noted with regret that those people who best understand me in my cultural interests are sometimes very far in their political views, this fact has never been cause for a greater or lesser sympathy them from me. But the fact is that I am not a maximalist nor do I have any gospel-renewal or conservative-to preach. No, it seems, with the minimalist Objectivists, and this is what paradoxically again highlight Martín Prieto.
The last point concerns the realism. According to Prieto, "the true horror of herreranadonismo is concentrated twofold: to present and then realism. And the antidote is simple: poetry, sublimity. " This is false in two ways: on one hand, or betting Anadón Herrera and sublime; Anadón describes a world entirely of small everyday epiphanies''''(a young woman in the glass a bar, the zurear of doves, the facade of a school) in his book work hours; Herrera relates a conversation with their children, the mystery of a tree, the sound of the stones in a river, where book by the door ajar. The trap position Prieto is the unique identification of''reality''to the misery, waste, marginality, ungrammatical use of language, insults or scatological terms. Are the stools an ontological weight greater than the leaves of a tree or the swallows Becquerian? I'm afraid not.
The main shortcoming of this moment Prieto argumentative article is the complete absence of a definition or at least a suggestion of what is meant by realism. Lukács alludes to but does not seem to share Prieto solid philosophy that maintains its monumental hegelianomarxista Aesthetics or testing problems of realism. Lukács contempt for bourgeois poetics''things'', and this is one of the reasons for rejecting the naturalism of Zola. Lukács, which means it is epic, an epic that narrates the great epic of human liberation, what Hegel interpreted as the process of the mind to freedom and Marx reinterpreted as the historical dynamics that leads to the division of work and classes to society without classes and finally to the Aufhebung der Arbeit ("improvement of work"). Neither Prieto and Objectivists seem to share this philosophy of history eschatological horizon.
I conclude this review with a personal opinion. In my view, the role and importance of talking about poetry in the history of literature in Argentina can be illustrated with reference to the myth of cold words of Rabelais. These words have a curious behavior: the contact of cold winter air becomes cold and silent, but when good weather returns melt and can be heard easily. Thus, while lawyers sell words, Pantagruel silence seems to be selling. Perhaps the extended consequences, according to Prieto, had the proposition of Herrera are that, under the apparent silence of the alleged ice-appellatio ad veterans may be perceived as the sound of true words.
E l missed. Far beyond the absurdity of her name in English is called safety pin (safety pin), want to imitate the way, the best in his ways. Forgetting its utility, its enormous possibilities, without going into the quality, nobility, durability, resistance of their materials, their perfect finish, its ease of use, forgetting all that and besides all that I want to open the image and relax because before you have one of the most beautiful objects made by man runs his sinuous lines and enjoy your curves, as they wrap back on themselves. Watch it open, expectant, ready for action, with full power of a gun. Provocative but without being aggressive, not make the mistake of imagining live is just an inert object, cold, distant and all the mysterious, seductive as any incident immediately. Now, finally closed watch it in all its fullness, tight on itself in action, still as what is to happen. With the tension of the gladiator, with the brightness of a star. Look well at its highest degree of splendor. It's just a pin drop it in the palm of your hand and close it, you have a treasure, do not lose it. 
