[Excerpts. Full Text of print]
A Javier Adúriz because
years
speaks to me with the fervor of the old voice language
not [...] I say that has gone the possibility of poetry, literary genre in which today are recycled whims of successive avant-garde, subcultural, say, rather, that in so complex a crossroads like this, the critical tasks can not suggest poetry aesthetically constructive, much less provide new energy to a medium of expression as battered as the verse. The format of the poem itself has become almost intolerable to the contemporary sensibility, perplexing or aversion, even among their own farmers. For free that is the verse, which is the uninhibited expression, there is always a residue on the page ridiculously anachronistic, perhaps a reflection of the loss counterfeit cohesion of the old form. I suggest because the manner born to be kept in mind, not on the page. In the mind, a poem is rigorous architecture clearer sound the purest silence absolute word, they understand the symbols. The possibility of such experience can not create a verse to use, nor intended, it is true, for now, this new line that favors mutations dizzying notion of poetry, affirming and denying the same time, is doomed to harass the remnants of a fullness that rejected by vocation, but is also barred by definition, since there is nothing free in a living organism. However, it would be suicidal closed to the possibility of the unexpected, improvisation has its resources, and perhaps at some point in the joint occurs spontaneously between this search (Or loss) with previously given material.
[...] Despite the great diversity of poetry at stake, the generic characteristic of Argentina's recent poetry lies in the fact that continuously seeks to be heard in recitals. This suggests that the voice plays a role in it, as if it were possible to listen only to fully capture its shape. I say this because the notions of form and voice have always been closely linked. In fact, the formal instruments of poetry have been the sole purpose of construction of the voice. This really could be called the poetic principle par excellence. Rave who believe that the old formal resources of poetry as accents, caesuras, tunes-just serve for someone to demonstrate his expertise in chess Acrobat or language. In fact, it's instruments to improve the voice modulation, and also do the exact notation of the singularity of voice. Poetry lives only in the voice, even in the silence of the mind is only poetry voice.
[...] In this situation, it is important to understand that the irresolution that dissipate sound in the texts of the new poetry to be recited is not random, but consciously sought. Would have to be deaf not realize that what is sought by all means is to strip on the back of its resonance and musicality. Immediacy does not need resonance, and everything is immediate, it's all lust for life at bay. As Wallace Stevens says in a sad chord lively waltz: "A huge cancellation, release, / Those voices crying without knowing why, / / \u200b\u200bCalling the happiness, not knowing how to achieve it, / Imposing ways that can not define ..." After hearing from the edge of the tradition of the tongue, these voices are silent, have no past, therefore no identity. No one seems to perceive this phenomenon as it really is: a terrible form of neglect. "Of all the needs of the soul human, there is no more vital than before, "Simone Weil writes," the past is destroyed may never recover, "written diagnosis during the Second World War, when tracing a before and after definitive Western art . Today, as the old ways are already in ruins and the new informal format just not find a definition meritorious, a crowd waiting to be summoned to the ritual of recognition of public recital. In these recitals the wig, costume, mime and comedy appeal or shocking it is gaining ground: the performance is the form taken by the consciousness of the strangeness to the corpse of what once was aesthetic awareness of the word.
Apart from isolated poetic personalities who persevere in the search against the expressive transparency in the use of words rooted in language, more poetic tendency to self-organization and Argentina in the literature of the last fifteen years made his public presentation in Monster / Anthology of Poetry Young Argentina, with a foreword by the poet Arturo Carrera and published by the Fondo de Cultura Economica in 2001. Eight years later, in mid 2009, after completion of a purge that leaves out several members of that first group, minimalism-hegemonic trend currently writing returns to the fray with another anthology, in which the word "young" is replaced by the word "new" New Poetry Argentina, this time selection by Gustavo Lopez and published by Perceval Press. The change in the name of the group is not only to poets ceased to be young, but they aspire to be a consistent movement and compact, similar to the New Music, marks the end of the tonal era and objectivist beginning of the era. The New Poetry Argentina has, in fact, these special features: looking both atonality and objectivity.
the target word, also used by Theodor W. Adorno in their approach to new music, referred to in its philosophy to the formal rigor that gives artistic autonomy serial composition (also to the structural cohesion of tonal composition.) New Poetry In Argentina, by contrast, aims to draw more lax "attitude where subjectivity is present due to absence, lying to be read between the lines of text" in the words of Alejandro Rubio, one of the poets anthologized. Just five years after publishing the new philosophy of music-very famous book conceived in the years 1938-1948 - Adorno felt severe symptoms of stagnation in studied the trend, a phenomenon evident in his essay "The aging of New Music," 1954. Something similar happens with the New Poetry Argentina selected by Lopez, she also suffers from premature aging, and the causes are similar in nature to those outlined by the philosopher. I refer to Adorno's text, although text is focused on the problems of New Music, perfectly describes the situation and the tendency of poetic neovanguardias from mid-twentieth century to today:
"We played extremely paradoxical theme, namely, the disappearance of the tradition of the new music itself. The innovative [...] grew all within traditional music. Their language, their criticism, resistance, crystallized it. The followers do not already have within themselves as a living thing, and instead become a musical ideal in itself critical in some false positive, no evidence of spontaneity and rigorous effort that this requires. [...] In this disorder is a virtue in a universal language and vulgar, which ranks first cuasiliterarios effects, especially irony just as baseless as cheap. Pseudo-intellectualism and political-cultural expertise moving the artistic. The music takes the 'pose' of a tradition that has ceased to be substantial and this is not technically and has no advantage over products made by engineers serial. All that happens is that this music seeks its own comfort and their supporters. "
To test this diagnosis is imposed if only to cite a text of the New Poetry Argentina. I choose one without title, Alejandro Rubio:
of offal of onions, the passage of men to women. The empty bowl
flowered china you deposited on the board.
Empty. Fill. With eggs, seeds, with eyes,
shit. It is the result of our drudgery. Is the key
of our ideas, such or contained or forgotten. The
mixed truth abounds on the fifth to two kilometers from the nearest road
. Along
end point of this short prose, appears gray leaf decorative: a quirk of the diagram of the edition which has no connection with either the subject or the style of the text boasts, which generates an unexpected " Mixed truth "similar to that described by Rubin in his writing. The same inconsistency is repeated in each page of the book: the old gold color of the names of the authors alternating with grayish leaves near the end of the poems. Alejandro Rubio is a writer emblematic of his generation, by its keenness for his acid criticism, it seems does not seem willing to make concessions, but the fact is that it has turned a blind eye when entering the pages of a sort of coffee-table book: a container embroidery similar to the "empty bowl of flowered china" lied in his prose, he also filled indigestible heterogeneous elements.
This "mixed truth" dirty realism in a printed book as a missal-itself that can legitimately be described as new. In his brief foreword (half page) Lopez did not deal with this striking novelty, the new, in its discretion, is linked to the mass production of texts, a phenomenon that lets you advertise with optimism that we have a literary revolution of an "unprecedented vitality." However, the consequences generated by the impact of rapid population growth in poetry have not been evaluated critically. The proof lies in the fact that to account for the amazing abundance has chosen a vehicle archaic origin: An Anthology, an anthology restricted to a minimum of authors and poems. This is not only contradictory, but it highlights the fact that we are facing a simple political strategy literature: it is a gesture of goodwill towards the demos, but with the sole purpose of incorporating it as a password in the pass of the correction policy. Precisely for this reason, the prologue of Lopez is diametrically opposed to any kind of aesthetic consciousness. However, it would be inaccurate to use the word improvisation to define the poise that is hidden behind his frugality guess argument. The anthologist does not justify any of your choices, assume that no one will argue. And indeed, nobody discussed. Improvisation never be able to be obeyed only in a manner so disciplined.
To mitigate the weight of these conclusions, to verify that there has been renewed alternative poetry in such difficult circumstances as ours, even darker than our country has experienced (for if anyone thinks that this is the cause that explains our situation poetic), is well to recall what he said Oreste Macri in the final lines of the preliminary study to his edition of the poetry of Fray Luis de Leon: "a year ago that [Fray Luis ] was released from prison, fully formed and hardened in theology and poetry, when John entered in the Toledo jail for there horrible writing, memory, their lyres and romances, and also the poet in prison, it is strange habit Hispanic ... "As demonstrated by the experience of those two men as diverse exceptional scholar-poet and poet-inspired great poetry is born when the word, taken away by the wonder of a world reborn in the ear, does temper the spirit in adversity, not when it neglects the arts and unleash their frustrations and revenge, whatever their origin .
not [...] I say that has gone the possibility of poetry, literary genre in which today are recycled whims of successive avant-garde, subcultural, say, rather, that in so complex a crossroads like this, the critical tasks can not suggest poetry aesthetically constructive, much less provide new energy to a medium of expression as battered as the verse. The format of the poem itself has become almost intolerable to the contemporary sensibility, perplexing or aversion, even among their own farmers. For free that is the verse, which is the uninhibited expression, there is always a residue on the page ridiculously anachronistic, perhaps a reflection of the loss counterfeit cohesion of the old form. I suggest because the manner born to be kept in mind, not on the page. In the mind, a poem is rigorous architecture clearer sound the purest silence absolute word, they understand the symbols. The possibility of such experience can not create a verse to use, nor intended, it is true, for now, this new line that favors mutations dizzying notion of poetry, affirming and denying the same time, is doomed to harass the remnants of a fullness that rejected by vocation, but is also barred by definition, since there is nothing free in a living organism. However, it would be suicidal closed to the possibility of the unexpected, improvisation has its resources, and perhaps at some point in the joint occurs spontaneously between this search (Or loss) with previously given material.
[...] Despite the great diversity of poetry at stake, the generic characteristic of Argentina's recent poetry lies in the fact that continuously seeks to be heard in recitals. This suggests that the voice plays a role in it, as if it were possible to listen only to fully capture its shape. I say this because the notions of form and voice have always been closely linked. In fact, the formal instruments of poetry have been the sole purpose of construction of the voice. This really could be called the poetic principle par excellence. Rave who believe that the old formal resources of poetry as accents, caesuras, tunes-just serve for someone to demonstrate his expertise in chess Acrobat or language. In fact, it's instruments to improve the voice modulation, and also do the exact notation of the singularity of voice. Poetry lives only in the voice, even in the silence of the mind is only poetry voice.
[...] In this situation, it is important to understand that the irresolution that dissipate sound in the texts of the new poetry to be recited is not random, but consciously sought. Would have to be deaf not realize that what is sought by all means is to strip on the back of its resonance and musicality. Immediacy does not need resonance, and everything is immediate, it's all lust for life at bay. As Wallace Stevens says in a sad chord lively waltz: "A huge cancellation, release, / Those voices crying without knowing why, / / \u200b\u200bCalling the happiness, not knowing how to achieve it, / Imposing ways that can not define ..." After hearing from the edge of the tradition of the tongue, these voices are silent, have no past, therefore no identity. No one seems to perceive this phenomenon as it really is: a terrible form of neglect. "Of all the needs of the soul human, there is no more vital than before, "Simone Weil writes," the past is destroyed may never recover, "written diagnosis during the Second World War, when tracing a before and after definitive Western art . Today, as the old ways are already in ruins and the new informal format just not find a definition meritorious, a crowd waiting to be summoned to the ritual of recognition of public recital. In these recitals the wig, costume, mime and comedy appeal or shocking it is gaining ground: the performance is the form taken by the consciousness of the strangeness to the corpse of what once was aesthetic awareness of the word.
Apart from isolated poetic personalities who persevere in the search against the expressive transparency in the use of words rooted in language, more poetic tendency to self-organization and Argentina in the literature of the last fifteen years made his public presentation in Monster / Anthology of Poetry Young Argentina, with a foreword by the poet Arturo Carrera and published by the Fondo de Cultura Economica in 2001. Eight years later, in mid 2009, after completion of a purge that leaves out several members of that first group, minimalism-hegemonic trend currently writing returns to the fray with another anthology, in which the word "young" is replaced by the word "new" New Poetry Argentina, this time selection by Gustavo Lopez and published by Perceval Press. The change in the name of the group is not only to poets ceased to be young, but they aspire to be a consistent movement and compact, similar to the New Music, marks the end of the tonal era and objectivist beginning of the era. The New Poetry Argentina has, in fact, these special features: looking both atonality and objectivity.
the target word, also used by Theodor W. Adorno in their approach to new music, referred to in its philosophy to the formal rigor that gives artistic autonomy serial composition (also to the structural cohesion of tonal composition.) New Poetry In Argentina, by contrast, aims to draw more lax "attitude where subjectivity is present due to absence, lying to be read between the lines of text" in the words of Alejandro Rubio, one of the poets anthologized. Just five years after publishing the new philosophy of music-very famous book conceived in the years 1938-1948 - Adorno felt severe symptoms of stagnation in studied the trend, a phenomenon evident in his essay "The aging of New Music," 1954. Something similar happens with the New Poetry Argentina selected by Lopez, she also suffers from premature aging, and the causes are similar in nature to those outlined by the philosopher. I refer to Adorno's text, although text is focused on the problems of New Music, perfectly describes the situation and the tendency of poetic neovanguardias from mid-twentieth century to today:
"We played extremely paradoxical theme, namely, the disappearance of the tradition of the new music itself. The innovative [...] grew all within traditional music. Their language, their criticism, resistance, crystallized it. The followers do not already have within themselves as a living thing, and instead become a musical ideal in itself critical in some false positive, no evidence of spontaneity and rigorous effort that this requires. [...] In this disorder is a virtue in a universal language and vulgar, which ranks first cuasiliterarios effects, especially irony just as baseless as cheap. Pseudo-intellectualism and political-cultural expertise moving the artistic. The music takes the 'pose' of a tradition that has ceased to be substantial and this is not technically and has no advantage over products made by engineers serial. All that happens is that this music seeks its own comfort and their supporters. "
To test this diagnosis is imposed if only to cite a text of the New Poetry Argentina. I choose one without title, Alejandro Rubio:
of offal of onions, the passage of men to women. The empty bowl
flowered china you deposited on the board.
Empty. Fill. With eggs, seeds, with eyes,
shit. It is the result of our drudgery. Is the key
of our ideas, such or contained or forgotten. The
mixed truth abounds on the fifth to two kilometers from the nearest road
. Along
end point of this short prose, appears gray leaf decorative: a quirk of the diagram of the edition which has no connection with either the subject or the style of the text boasts, which generates an unexpected " Mixed truth "similar to that described by Rubin in his writing. The same inconsistency is repeated in each page of the book: the old gold color of the names of the authors alternating with grayish leaves near the end of the poems. Alejandro Rubio is a writer emblematic of his generation, by its keenness for his acid criticism, it seems does not seem willing to make concessions, but the fact is that it has turned a blind eye when entering the pages of a sort of coffee-table book: a container embroidery similar to the "empty bowl of flowered china" lied in his prose, he also filled indigestible heterogeneous elements.
This "mixed truth" dirty realism in a printed book as a missal-itself that can legitimately be described as new. In his brief foreword (half page) Lopez did not deal with this striking novelty, the new, in its discretion, is linked to the mass production of texts, a phenomenon that lets you advertise with optimism that we have a literary revolution of an "unprecedented vitality." However, the consequences generated by the impact of rapid population growth in poetry have not been evaluated critically. The proof lies in the fact that to account for the amazing abundance has chosen a vehicle archaic origin: An Anthology, an anthology restricted to a minimum of authors and poems. This is not only contradictory, but it highlights the fact that we are facing a simple political strategy literature: it is a gesture of goodwill towards the demos, but with the sole purpose of incorporating it as a password in the pass of the correction policy. Precisely for this reason, the prologue of Lopez is diametrically opposed to any kind of aesthetic consciousness. However, it would be inaccurate to use the word improvisation to define the poise that is hidden behind his frugality guess argument. The anthologist does not justify any of your choices, assume that no one will argue. And indeed, nobody discussed. Improvisation never be able to be obeyed only in a manner so disciplined.
To mitigate the weight of these conclusions, to verify that there has been renewed alternative poetry in such difficult circumstances as ours, even darker than our country has experienced (for if anyone thinks that this is the cause that explains our situation poetic), is well to recall what he said Oreste Macri in the final lines of the preliminary study to his edition of the poetry of Fray Luis de Leon: "a year ago that [Fray Luis ] was released from prison, fully formed and hardened in theology and poetry, when John entered in the Toledo jail for there horrible writing, memory, their lyres and romances, and also the poet in prison, it is strange habit Hispanic ... "As demonstrated by the experience of those two men as diverse exceptional scholar-poet and poet-inspired great poetry is born when the word, taken away by the wonder of a world reborn in the ear, does temper the spirit in adversity, not when it neglects the arts and unleash their frustrations and revenge, whatever their origin .
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