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Ricardo H. Herrera:

Editorial
Talk Poetry 22

Often, the sleepless nights, I wonder how chimeric let me drag to guide my life in the pursuit of poetry. This destructive concern has been fruitless waiting for Ungaretti vividly captured in the final pages of his first book, in prose entitled "Irony." This text is outlined in a night scene where the nakedness of a snowy winter land heavy with signs of spring is linked to the impossibility of writing: "At this time, only a rare dreamer is given the martyrdom of continuing his work "concludes Ungaretti. Why alludes to this catastrophic time to torture complete his remarkable book? Why associate the words work and martyrdom in the time to make a necessary stop on the way? A survival of the slaughter of war, the happy return to the land of their ancestors, is followed by a long pause incomprehensible and anxiety. And is that between the work just completed and the work to be done suddenly opens a chasm: a night to hide his cruelty on a helpless icy calm.
In those evening hours of uncreation ironic (because without adding anything new devour what one believed firmly established), supported in a kind of phantasmagoric garden of olives placed in a rarely visited corner of the mind more than once I have reviewed in silent few definitions of poetry that my memory has been retained at random throughout the years. Digested with difficulty programmatic definitions of literary theory, but I feel sympathy for living that arise by chance in books not lecturing; definitions are quite obviously the product of experience. One of them found it in the prefatory words of an anthology of Cuban poet Gastón Baquero, the statement attributed to Heidegger for the same Baquero, says: "Poetry is the legend of the nakedness of what exists." It was my first encounter with the philosopher. For the secret power that lives in a magical course of thought which contains the phrase, more than one occasion I have been led by it to the imminence of poetry itself, as if the opening line of an unfinished poem. In fact, when I read the sentence (twenty-five years ago) impressed me more than all the poetry of Gaston Baquero, who keep gratitude for the minimal but extremely successful event that brought me his book. It seems that Heidegger's words are possessed by "the sacred simplicity of the water" where the swans dip their heads hölderlineanos. Another definition
not forget the poetry found in Pasternak Yevguieni preface to the work of his father. The phrase is actually Boris Pasternak's own, and is directed against the sterile debate that often hold cultural operators in carrying out the jealous control of artistic production: "Poetry," he says always be something simpler than it may be discussed in a rally, he always will be an organic function of human happiness. " A twist to the familiar formula Stendhal, that he conceives art as a promise of happiness. Pasternak, however, is closer to us that Stendhal is surrounded by the machinations of the ideologues who seek definitive definition, unobjectionable. In his words, poetry is meant as a force in itself: an abomination of the pandemonium of the opinions that are not based on a practice developer, do not walk into a book of poetry that is held intact at the time, looking for his way with a bound, without circumlocution, the perception of the world's beauty and joy of love.
The last word (love) I remember a poignant and Simone Weil brief definition applies to Gregorian chant, but extends to "all great art"; valid, therefore, also for poetry. Here are his words, "pure art and pure love," a succinct equation that to give good results, calls for a fair correspondence between two elements that shape it. The level of artistic technique may be higher or lower, it not only depends on the degree of refinement of the artisan and the closeness or distance that your technique can make love. If the distance is absolute, if it rejects the love with the intention of giving autonomy to the technique, the effects are catastrophic. Here again it should give the floor to the author of The condition of the workers: "Things always remain indifferent indifferent, they are divine things, however, which, by the rejection of love, evil efficiency gain." To whom this statement may seem strict obscurantist, I suggest reading Doktor Faustus Thomas Mann: I know of a more conscientious and meritorious diabolism and the link between avant-garde.
Even the most valuable of the literary career of a poet Montale as skeptical as can be understood in light of the definition weiliana of all great art. Your need for technical skills is explicit: "it is inconceivable that [the poet] ignore what has been done from the technical point of view in art", but also points out the limits of the technique: "a poet should not voice ruined run the scale too, should not risk sound qualities then never find again. " I do not think an over-interpretation think that this cautious warning Montale you are claiming to share the necessary technical inspiration, nor does it seem forced to link the inspiration to share the word love. In "Iris", one of the pillars of "Silvae" Chapter medullary Storm and Other Poems, loving nature of poetic dictation is admirably condensed in the final couplet:

because His work (which in yours becomes
) should be continued.

The meaning and scope of the poetic vocation unfolds in two registers of his voice and admonition is lesson-in words of the angel visiting montaliano. Like the round and italic typefaces of this pair of heroic verse superbly designed (although poorly translated), love art and achieve a harmonious combination between the ethical and the aesthetic. In relation to the interpretation of the symbolism of the female figure of the poem - "Iris" Canaan "- the poet himself has been more eloquent about the famous interview in which I have been quoting imaginary: it is" eternal symbol of Christian sacrifice. She paid for all suffer for all ... "
medium was thus clarified the concerns raised the question the ambiguous status of pending poetry with which I began these pages: a threatening silence Ungaretti, a requirement for intimacy without ideological interference Pasternak, a marriage between mastery and love of Simone Weil, a sacrifice for Montale. Changing images and concepts that they complement, not oppose, and the apprentice poet everything eventually will be forced to coexist in the continuous cycle of metamorphosis of poetic expression, until you can get a foothold in the plot language is reserved and can engage in the construction of the music of his own voice.