Aparición La obra de la poética Emma amplia y completa de Barrandéguy el perfil de una escritora, prácticamente hasta poco antes de que Desconocida one could read his stunning novel Rooms in 2002, when journalist and author Maria Moreno possible publication. That bit of prose fiction and some rehearsal, mixed gender-related forms such as confessional memoirs, diaries, letters, but also included novel construction touches on a story basically autobiographical, installed a striking narrative perspective. Provided a sharp contrast with what was supposed, a writer could write in the 50's, in Argentina, because those years correspond writing and editing rooms came with a delay of almost half a century. Pages incredible in a calm tone and sensitive, with a natural boldness for the speech, printed in a political and sexual transgression that had remained in the blank, empty space of the unreadable for long. The careful editing of his poetry, by Irene Weiss, now installed a poetry that has been absent from the literary (in which a read out of time might make the mistakes of displeasure) and has a very extensive tour more than sixty years, with a time of maturity and poetic achievement finished samples. [...]
In his first books, the mere mention of some of its titles "Lenin", "Life of a pawn" "First of May" and the frequent appeal to his "comrades" in the poem, make clear the issue and the political role assigned to poetry then. Corroborating his membership. Do not forget who was with Raúl González Tuñón, whom he admired, the Association of Intellectuals, Artists, Journalists and Writers (IAA) in support of the Republicans during the English Civil War. She says of that time "vaguely understood that these poems did not reach the people approached him or me" (Room 37). However, there are moments in the early poems show the best diving binder which is capable of describing in poetic discourse when well or especially a search for poetic construction, a script. In refrigerators, for example, written in prose says
is a day of slaughter, have led me to look at the refrigerator. Cold rooms, odors and workers [...] The cement floor is a single pool of blood, water, waste where my boots slip rubber. [...]
and move cattle. And
intense rationalization (58)
This description is no longer a mere object of observation and, in these last sentences, is released to the tension of poetic perception.
In his second book published: The doors, 1964 (take into account the time shift of almost thirty years since his first book), shows a notorious area where the theme of love makes you more clearly in relation to the poetry of Alfonsina Storni. Even one of his poems is entitled "Song from the Alfonsina way." Is constant, this book loving partner's presence as part of the rhetoric of love poem. "How useless to night next your heart that I looked" (81) says in a beautiful lament. But in other texts continues to project an ideal of equal partners, with mutual respect for the other's desire for "the way of love":
I will give you the ring that unites us
if I can not follow [...]
And if you touch me before
shoulder to tell me what you'll give me your memory
in his hands and he entibiaré
fingers (87 )
In the same book begins to outline an area that will reappear in other poems. It is an area related to the occupation of social space by a woman where the idea of \u200b\u200border and chaos appear frequently in a complex called coexistence. Their opposition creates a semantic core connected with elections expected for women in the conventional life that he has reserved time.
[...]
Within the area where socially defy convention provided for a woman could be given other poems that add ideas, in turn precursors. In the poem "Women's Position" dated 1937, located lucidly poetic voice of a woman's position compared to writing:
independence be assured that
do [men would
joy.
I can not make from this castellated heart of centuries.
[...]
[talk] and nothing is false, or hard, or wild, but only natural
(245)
In the 70 Anglo-Saxon feminist literary criticism, the that The Madwoman in The Attic was a reference, addressed precisely this hindrance to write about a writer who works from the social imaginary. Its authors Gilbert and Gubb, which specifically referred to the writers of the nineteenth century, said that the men took the pen and built the literature read in a male succession in a natural way. A woman in the writing itself perceived change from the social alienation of his confinement, must overcome nature culture reserved for them. In this sense of symbolic rebellion can read a poem by EB that is questioning this tradition passed down from mother to daughter, transmitting and perpetuating a strong moral for women. Says
Defeat
mothers who created our molds close. Defeat all limits
and prepare wild joy (335) [...]
His age is listed as a point of arrival in the transit of deterritorialization, which is proof, at the same time attempt reverse, this impeccable edition of his complete poems, mostly unpublished, arranged and prefaced by the specialist Irene Weiss. In Emma Barrandeguy customize the rootless in a provincial town in which "seems to go away / from the lifeline of the streetcars" or where "even eucalyptus trees in the parks seem to already known and humiliated "(247-248). It is also a body deterritorialized and difficult to read in their sexual freedom, at least for most of the time he touches travel. But it is especially rootless writer of a social identity, which comes with the complete works virtually unknown. It is almost impossible to reinstall this work without taking into account the symbolic and political values \u200b\u200beven silently should have acted against him.
But ultimately, comes a landscape poetry and perfumes, and build courage to say things it names, and that is to be celebrated, never a wrong time, comes with an old flavor but fierce and persistent may well smell the olea fragrans of provincial court, a flower is not very common in modern gardens.
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