Penis Checking Doc (female)

Jason Wilson:

Girri in sight

( version in the print edition )

Alberto

Girri: Selected Poems Selected and foreword
Monteleone
Jorge Alberto Girri

Corregidor: concerns in forest (poetry anthology)
selection, editing and foreword by José Muñoz Millanes
Editorial Pretexts

obeys no coincidence that two anthologies of poetry Girri Alberto (1919-1991) have left the same year. Girri has a reputation for being difficult and intellectual, very productive, good translator of English poetry, and the single best Argentine poet of the South magazine. I met him in 1970 via Aldo Pellegrini, and made translations into English, with its sporadic co-fifteen of his poems (ie, a selection of what seemed like the best of it.) Smoking was a dandy, with a sarcastic and sometimes abrupt cut dialogue. He did not tolerate laziness or stupidity. I say this because I always felt a close relationship between himself and his poems coffee. For example: a continuous dialogue and clever with Western art and literature, tried from his corner of Buenos Aires. Had almost all poems certain elegance of thought and also the relief of purging of all cultures, cleaned of words ... but with words. Its key verbs are "examining", "believe," "judge." His goal was the lucidity, "knowledge of himself," not fall into the traps poetic and conceptual.
In 1969, his friend and publisher Henry Pezzoni prepared a thematic anthology, and in 1983 Horacio Alberto Castillo prefaced Pages Girri selected by the author. There was also a poetic work published by Corregidor in six volumes (1977-1991). That is, there were several attempts to figure Girri boost to an area of \u200b\u200bgreater circulation of books of poetry. Are you sure the two new anthologies that their time has come?
begin with the selection of Jorge Monteleone. In his brief and concise introduction, which may observe too how it Girri speculated, Monteleone is Girri explain why it was not well read on the national level. He cites the mediocre poem by Juan Gelman, who superficially Girri associated with Octavio Paz and José Lezama Lima and old poets, obsessed by his personal death and a static beauty. Then put together a list of readers who wanted it back, starting with and including Pizarnik Pezzoni, Carrera, to Fogwill and Aira, as evidence of a new assessment. While the process outlined chronological girriana poetic, but nothing ventured to criticize. Metapoetry much, much poetry about the creative process, many words about words, so many poems about the poem did not end up tired? Is there a monotonous and monotony evident in the work of Girri? His escape rhythm, sensual music, all the trappings of poetry, does not create poetry, but something like a philosophical treatise. Milton, however, is an example, wanted to become a poem. This attempt to write poems to get a clean slate of "poetry," a mind purged of words, is not more to do with a manual of meditation with the aesthetic enjoyment?
My suspicion in relation to the work of Girri is that it relies on a "speech" extra-literary. For example, the selection of four poems which Monteleone Daily Values \u200b\u200b(1970) is fine, but omits the heading of Krishnamurti. Krishnamurti spoken prose is void of sentimentality, of adjectives, literary style. Try to explain the mental life as "constant challenge and response. That is the existence that is life: a constant challenge and response. Is not that right? The challenge is always new and the answer is always old. "I quote in full the passage to give an example of tone Khrishnamurti didactic prose. Girri him right. My intention is to suggest that perceptions Girri Krishnamurti poet using the same kind of prose, but cut into verses is a "fact rather than syntactic musical", as sharply defined Monteleone. That's why that Girri not look like anyone in the poetic tradition. And yet is close to figures such as Krishna or Daumal or Wittgenstein or Gurdjieff (talk about it in an interview published in Crisis in 1976, and says his goal is to behave as "a casual follower of certain ideas of battered Gurdeieff) . They are "teachers" that teach you to be purged of all poetry to achieve a lucid state of pure attention and contemplation, even of internal integration, ethics. There's even a poem called "Tao" that looks like a plan of meditation. In the poem "Exercising with Breughel (abundant references to art history, was married Girri the painter Leonor Vassena) check their close relationship to the "religious" tradition, almost non-existent relationship with the poetic tradition: "In fact / the visionary charity / disaster to teach with / to understand what we are, / to deliver / to look as we are. "If there is an echo here is with the metaphysical literature Elizabethan as John Donne (who translated). If your work is repeated, due to the fact that no one can stay in this state hard, pure, aphasic, because the words and concepts will inevitably become like air in a vacuum, blow, and we must begin again.
Monteleone's edition includes a dialogue between Henry Pezzoni and Girri, and respects the Girri translator, as he often included translations at the end of a book, as the Mexican Jose Emilio Pacheco. We must recognize that the dedication of the act of translating Girri was as prominent as his own work. But judge him as host of previously translated poets too prolong this review. Maybe not translated by elective affinities, but rather to not always keep writing the same poem. Take an example. Robert Graves insisted that his poetry was refractory to any translation, but includes the version Monteleone Girri made The White Goddess (which obviously shares the title with his long essay). A version literally, with a slip of meaning and sound (apart from a misprint, "seats" instead of "white", and the loss of the subtlety of rhyme). Graves says: Whose Eyes Were blue, with rowan-berry lips. Girri translates: "Whose eyes were blue, lips like ash berries." However, an ash tree has no "berries" and a rowan tree that gives clusters of red berries, is an ash. At Mother's Grave, Girri transforms it into "Mother Mountain" (know why) and prosaically concludes with "without care of where to drop the next ray," in contrast with verse Graves Music: heedless of Where the next bright bolt May fail. The is an original song version one decal in prose. He collated his version of a fragment of the Four Quartets by TS Eliot, the work of musical and conceptual subtlety unmatched. Girri is faithful to the meaning, but loses the symphony of thought elotiano. Eliot says: Words, after speech, reach / Into the silence. Girri, a little vague, translates: "The words, after talking, they manage to silence." Just read aloud versions to realize that the ear is Girri cash. At the same time, more now than when he was alive, the work is an antidote Girri tellurium bombastic populism against sentimental and romantic and psychological confession (A summary of Saul Yurkievich, whose poems are also a tribute to Girri).
anthology José Muñoz Millanes other purpose, proposes to Girri as pure lyrical, not prose, without translation. Is a presentation of his work to an audience that despises him for intellectual and difficult, because you do not know. Unfortunately, the introduction lacks a display of fashion events and weaves a web of Agamben, Barthes, Benjamin, Deleuze, Blanchot, who added Zambrano, Ortega y Gasset, Kant and Adorno quoting Valéry in a dialogue with "teachers "the academy look like tics of a dissertation. It's a shame, because among the many sources of authority, there are good insights personal essay on Girri, a good comparison between Girri and his translation of John Donne Devotions on his "mentalism", on the soliloquy and poetry "radically intransitive." Absent the relationship with the poetic tradition and knowledge of the poet of Buenos Aires. No one can deny the allusive density readings Girri shared with colleagues in South or someone like Octavio Paz, devouring both all kinds of texts. I feel at times that his poetry is like the act of going threw the attic of his head as much reading as Don Quixote in the tower. Said so in "questions, each both": "true / maker of poems defy poetry, / [...] the true filmmaker / hates anything that thing. "
Both autologous choose poems that range from beach alone (1946) to allegorical Games (1991). For example, who speaks is not dead (1975) Monteleone choose four poems, one of them is "questions, each both" almost her poetic art (chosen by Girri same in 1983). Muñoz Millanes choose two different. In point of ambiguous Jungle (1972) Monteleone choose six poems, Muñoz also Millanes, together with a poem: "Relationship with gems." Random comparing my edition of The Eye (1964) with the anthology of Monteleone, I note that no follows the order of the poems you choose, plus two verses are printed upside down. In Muñoz Millanes all is well. I do more statistics. Maybe it's time Girri. In libraries full of self-help librejos, poetry offers us a deep mental cleansing, almost unattainable.