Cronipoemas, Jorge Etcheverry Fernando Veas Mercado
The acquisition of a literary work is like no other product, as they say, is an encounter with the text, a relationship that the text offers us and we access share, which opened to a word that tells us nothing we have our burden of life, experiences of all kinds and even readings. Borges said he was not trying to read a book a second time when the first had fallen out of hand. We read with attention, eagerly or reluctantly, perhaps with suspicion, with distrust. If you read a negative or prejudiced, self-limiting us, we cut the possibility of integrating into the adventure that launched the author who is very present or, at best, gone to make room for the voice that speaks to us, which speaks who will listen.
Cronipoemas Jorge Etcheverry is a book that takes us through various tensions and trails with a dynamic language, suggestive, rich, flexible back on itself in spirals encompassing (1). The
book has a cover over it Etcheverry: I remembered another, that of the English edition of the Book of Disquiet F. Pessoa. Pessoa went to a cafe in Lisbon, where he wrote. Today there is a statue of the poet at the entrance to the cafe. And I think that creates a visual image that I have always, the poet, alone, writing, any place, but alone and yet so surrounded by the world you want to put in words. The back cover is a photograph of Luciano Diaz.
In the preface to his Cronipoemas, Etcheverry reports on the characteristics of his poetry: no overdeterminations and a program. Says: I think a language that is too often distorted unit or lie (...) this book implicitly assumes poetry-life relationship was not, and something that is understandable in itself, without drama, cliché or onion, but do not exclude a priori (p.9). Us into his kitchen, in his determination not to get caught up conditions and, above all, avoid texts translated into expendable though some estimate could well. And he is well aware that it is not new. Concludes: "I did not bother no critic or poet known or friend to make me a prologue, and they are very busy in the winter in Chile wet stretching in smog vest or wet tropical heat that country almost the antipodes neurons melts us. I hope these lines will not prejudice the reading "(p. 10). We will be alert to this poetry is not recommended by anyone because the author does not want to bother, you just want to read it without those almost editorial praises are sometimes given. Because of annoying, going to do, but in other ways. Unprejudiced, we take it as it comes because his poems are irreducible elements, such as JC-Sánchez Lara called residual poetry ... but not just him. Julio Ortega, referring to a Venezuelan poet says, "the word of Juan Sánchez Peláez is full of its own origin as a casual monologue settles experience, his poetry is residual: partial training after living and lost, and that character gives as psalm, almost elegiac "(2). There cronipoemas in Brazilian literature as well. Some are mini autobiographical chronicle and even counter-culture. But these names refer to texts if they are new to poetry, Prévert is a good example, are vigorous and simple expression. as sayings or sentences that sometimes recall the greguerías.
From all that and that's good. If straight, do not look like a monolithic or permanent, everything is in motion, like life. Delineations, if nostalgic, are soft blues, no trouble or thrown in least one time or other periods of life: a retrospective, kind, wry, sympathetic.
So I stand by my impressions of the first poems I read and Etcheverry ever told. Etcheverry recycled in good voice, "bricolage, composting, potluck, patchwork, residual? Garbage processing plant "as quoted someone? (Of poets, cats and butchers, p. 89). We also know that the poet is fond of limericks. But I think none of this matters a lot, if you're interested, is to match not only in form, so dilute the most of the time but above all, a concomitant in depth with that I, or, it comes with me. Of course not everything is superficial or disinterest and extroverted vitality, not all are places of Ceferino Piriz place as I said, are the most intimate, as some blues poems like Samuel Beckett (p.72) and those, or other passages, where the area bursts, into which the birds alluded to as the albatross, or exposed, desires, drives to impossibilities, but never a bird to land or not takes flight. I spoke of that once in my article on the imagination and the poetry of flight Etcheverry (3). I also believe that poetry again and again Etcheverry, with, as long as it is difficult to talk about programming, his poems are all and su conjunto, un dejarse llevar por la palabra, una aceptación de no ponerle puertas al campo (4). Deja fluir la realidad en la palabra que renuncia a atrapar y de ahí que muchos textos de esta selección tengan, cada uno, su propia melodía .
Esta poesía tiene la lozanía de lo no premeditado ni estatuido. Esos temples de ánimo, esa aceptación del estado de yecto, como dice por ahí, hace de sus textos, que no quiero comparar con otros ni con principios, antimetáforas por desnudez del lenguaje, no pobreza; sobriedad.
Ante la infinita variedad de la realidad, la palabra parece incompetente, pesadilla de todo escritor que se lea críticamente; el hablante se resigna a ser una belt, not medium or seer, no other, attitudes rejected by his speech. Therefore, their texts are outside of solemnity, which does not mean superficial and simple, because the reality elusive, invisible in its multiplicity, is reluctant to be pinched, worn by the word.
Sometimes poems built platitudes and phrases in which, in regular trading, the truth is banal but in his poetry emerges as a new point of view of the reality impaired. Here there is no alchemy lead is lead and the word is no philosopher's stone and we take no ecstasy but a center that always escaped us, and perhaps to try to recover the first light of the aforementioned the freshness of expression. How
, not distort, we can organize, domesticate and make available a reality that has been buried by wear and no longer open to any contemplation and slides? Etcheverry put it without being moved or a eñe but with due caution that the adult must take care of their energies, if you do good to love a younger woman, who seeks it or not, is there: poetry is there.
interested in talking about themselves, without embarrassment, without false modesty or pomposity because the speaker is closer to that from here there is not going to look in the mirror to see if it is well groomed or express your luck with another gypsy looks, perhaps feverish, but quiet.
Many critics have said the worst commentators and interpreters of their own works, are the authors ... I do not share that view because it ignores the lucidity of intellectual work, is the belief that artists are illuminated or estimate they know not what they write.
Etcheverry's texts that reflection is always on the go around its own poetic task and I am not surprised that once again reported and not as between the lines, but ironically, some types still in use.
It may be possible to group these poems Etcheverry, in some ways, not to use the word temática, que poseen rasgos discernibles en otras obras, incluso, con nuevas dimensiones y profundidades.
La obra está constituida por 64 poemas. Hay diez con títulos que aluden al poeta, al poema o a la poesía; hay otros humorísticos, cuatro. La mayoría de los títulos son curiosos, frases corrientes, sólo tres ofrecen una alusión literaria y otros tres podrían sonar grandilocuentes; cinco con un motivo político. Pero todo eso es engañoso ya que más de cinco poemas tienen transfondo político social. Toda clasificación o intento es vano, ya lo dijo Borges. Quería mencionar eso porque el título de un libro o de un poema nos lanza en una dirección, antes de comenzar to read. But be careful, as Eco said, there are clear and many misleading titles.
The book opens with: come pane e pesto / pasta and provolone / prosciutto sono io / e tu sei melone (p.11). What is the cheese bread, pesto is to the spaghetti, that way, I'm you're ham and melon, that is, the perfect flavor for maducarse agreement. The flavors: salty, spicy, salty and sweet.
Hence, the following poem, so delicate, speaks of the drive of desire but also the loving, sudden illuminations, flashing felt in the midst of life. Satiated feeling, the poet comes to your dream and the dedication of his work, mixing and continues: the poet / the poet bird is limping Devil: As featured in the dream collective / poet / giant strides on the ground / color is all colors / with a voice that is all the voices and the poet ends ... Giant / watch over the roofs asleep / on land / planting birds "(p. 13). Between the beginning and end, all the cities, others in all its expressions. I want to emphasize this self-assessment of the poet who brings echoes, of course, that beautiful poem by Baudelaire, The albatross bird on which Neruda also wrote a great poem, the Etcheverry I associate the devil lifting roofs. There are poems in which another tone, the speaker proclaims that "everything fits in poetry "(De poets, cats and carnage, p.89) and get to demarcate topics, merit and other herbs, makes him say:" That's why / (that I was the wave) "(ibid, p .90). Poets, like birds, living spontaneously because it is poetry which does all the work and make them fly if they respond to the incentives and assume that capacity and in the bed with a woman if they have the ability to fly and do not stay there, stranded. If the poet, with all its limitations can be incorporated (broken voice, p. 96), others will be shaken. But for that, apart from the way the poet to be honored and that is why poetry is Etcheverry linked to his life without frills or leaks, no cheating because it is true that it will legible (Honesty and poet). Thus, with modesty and deep thinking self-mockery, often with a word erases Etcheverry a construction stimmung seems very, very stubborn, a head broth, almost embarrassing to think about what others look carelessly or disdain. For example, says: But the language / (a \u200b\u200bWeltanschauung) / an attitude toward life / and the handle of the sword / the whirligig girl / and so forth "(English and French in Canada, p.75).
The gloom may be the killer, must surrender to it, so, on that rainy day there are no major battles major companies to gain and / just keep walking / on the street. What evidence do face this stark reality, to be assumed. In another poem, frankly reaffirms what is or you want your poetry is not luxurious or miserable food / people leave to go when he's behind gourmet dishes / But to turn to when the shoe pinches / I wish I / as the humble rice starved continent or chicken wings after some beer / on Friday night in Ontario "(The honesty and the poet, p.97).
But flying fatigue, and as the band, the bird is the flight from behind the clouds. And fatigue, to put a line of M. Hernandez, This at times: "Tired maybe, but not defeated" is not poetry fatigue, but for everything else but not loosen the tongue, on the contrary, clung to her, j, to the NEA, with a bang Keyboard: "elegant and concise."
In a poem, like others, with various allusions, literary, letters of tango, with colloquial expressions, ironically the looming melancholy nostalgia as someone who hurt betrayal and more frugal but less banal says: "Here in the North cast quail flying south to bring us back something, besides the nostalgia "(Tango For radio, p.82)). Neruda I want to return to its south, called the Ocean: "Get me a day of the South, one day caught your waves, / wet tree one day, bring a wind / polar cold blue to my flag." It is one of the few times when the speaker is helpless. Faced with this, the age, with a bit of desperation, "let flocks of vultures flying weak, almost / clear / return to us with treasures hunted in the soft / grasslands vanishing of Memories" (His position, p. 87) .. But there is a resource: the offspring: the new birds.
Equally sensitive is the vision of everyday reality: the light breaks the darkness of being the beholder. And once we realize that this poet se maravilla ante el mundo pero sin olvidarse de sí mismo. A veces, la relación con los demás será accidental o sólo difuminados ecos de sonidos vitales. Por eso, tampoco el hablante es alguien premeditado, vive más que planifica su vida. Se deja vivir aunque ocasionalmente se analice y deba abandonar esos exámenes porque sus exterioridades no interesan realmente. Y, tal vez, muchas veces, se podría decir como Talleyrand: “Cuando me analizo, me inquieto pero cuando me comparo, me tranquilizo”. Pero esa realidad que se desliza, le reconcilia con un quehacer con el cual no pretende eternizar nada, menos que nada, su gesto, su escritura que terminaría matando esa vida.
Ese vivir no es pura harmony and joy, not pure dazzle, the gloomy weather as dormant but still, do not want them going to kill him. So jump to something else, the negative retrospective at the present time to eliminate them but allowed them to breathe.
And now comes another fresh, a poem written only with platitudes that are revitalized in imaginary dialogues, simple but whose chaining us to reconstitute and reflect that it is nothing more nor less than a thought about existence. And almost naturally falls that Stripping poem of great men (p.23) that retrain Christ and Che Guevara, we put in the center of current events with humor and penetration. In This is a "loyalty program" as a poem Etcheverry says: "not afraid of the commonplace" (Poem by appointment of Pedro Henríquez Ureña, p. 46). Reflects not only with big words. There are so bombastic poetry, as these speakers do not say anything because they have thumbed language to the hiccups, because there is no truth in them that contains poetry. In that dawn in Alba (p.14), more reality and truth in the verses that were new and rhetorical style hundreds of years ago. This way of writing, we have that carefree, even playful, not serious for many, is poetry. Poetry, all literature is a game, but a senior game. And the projections in popular expressions, but never vulgar, why not? Give us the force, a view of a speaker who travels the world with their cargo of which does not deny but rather wants to make it available although they are nothing more than a feeling, a feeling of just be living (The neighbor , p. 15). Lack of clarity does not mean taking illusions but their humanity in their circumstances, because the speaker has exceeded these anxieties Heidegger who visited but did not flesh and absolute room in it. For something has to serve, live in exile and write, do not
And there are also sincerely (Do not believe p.27) to deepen, if possible, so more explicit in everyday life, life that is assumed without poses or delusions. Thus, the word used for what is, to refer, to break away from an interior that can be suffocating but in short, keeps him alive.
I said we could talk about political poems or social economic standing commitment, once again, the name is unimportant because the poet is not bent on reality, but speaks from and for that reason, his speech leaves stained throughout and refers to what it condemns all enter into the poetry and dodge would be dishonest. Since its Minipoema invitatory (p.20) we suspect it will confirm his words more forward. It incorporates elements that expand the text to refer to the Internet in several other poems. The Internet seems much more interesting to quote or write as Parra and have made some poets. We leave the text, we throw out, challenges us to do anything but read.
good news is that there are no limits as a political opinion is also foray into the Internet as an endorsement of his claims. But do not lose sight of the essential and now claims that in another tone: "So here we are not chopping onions / maybe we're not even doing poetry / Missing genre that combines all / The political pamphlet, the expression of the soul ( I do not believe in) / Accurate data and the call to action / To greet the Cuban revolution "(Salute to Cuba for 50 years, p.59): want, not dictate. Other poems, despite or because of the prosaic, go beyond the mere hint of a political or critical stance as it also reviews the patriotic mythology that even the Internet will explain in great detail. But we believe that the Internet should not replace anything, it is not the reader's digest and therefore has what is or is not the Internet that way. In other words, Internet ... as and as, in short, the speaker acknowledges that his opinion is worth what it's worth. This speaker is
in battle against certain fashions, customs, and also against the sacred cows or to believe such. Her writing gives no quarter asked or requested, nor support or participate in collusion. Thus, the portrait of those writers who consider themselves as such, more concerned about being considered such that to be ... and he told Sherwood Anderson to Faulkner. And in this there is something not insignificant that is called dignity, yes. Value of the attitude to say to Onetti. The examination of the poet puppy, as his beloved Kerouac and Joyce, too, right? Although that lead to a self-analysis and individualisnmo pride and regret any misunderstanding with others, does not substantially modify their self-esteem, self-esteem, come on that is what the balance. Therefore, the ghostly rivalries are also seen with humor, a little melancholy, it is true, perhaps because it is in the youth category, divine treasure.
But the individualistic self, rises to another level, his passing, his life is little but the word is his weapon. His power and, although little can be done before the fact, that bit always begins with the word "But our only power for the time / Maybe is this / (...) And perhaps the only us in this time / In that humanity seems that she expected / crisis hovering over and over each system fratricidal genocide and another and another and a little bit of pollution / As a flock of birds with low height / about shady land / then we / and seems to only have / Words / Y fly out there "(All-Voices, p. 55).
All this leads me to believe that one of the features of the poetry of the repudiation Etcheverry's lecture, to write a poem with solutions that no longer convince anyone, but we never lose certain convictions without which all would it postmodernists preached the same as the violet, that is, there are. And, perhaps, be content with noting what happens, "dissolute, dissolute few other gregarious by themselves (p. 66).
If Etcheverry reflects on his work, that thought is an estimate of what is said, a loyalty that goes beyond the use of language. If you are not afraid of cliches, not a recurring theme, thought to be forming or reactivating ways to make poetry ceased to attend other, in any case, more is concerned writing banalities or "some people say / never did poetry ", that takes you to the beginning ... when we wanted to mix / social revolution and vanguard literary / would have been nice / have come to Don Pedro / with our poems / to give them a look (Poem by appointment for Pedro Henríquez Ureña, p.47). And yes, it does not deny his past, I assumed, as Borges can say to an imaginary Lugones, in those early years, Don Pedro (Poem by appointment of Pedro Henríquez Ureña, p. 46) would have thought though that because you have cared less poor practice sound theory that a beginner like you, "said "Borges, Lugones.
There are several poems that some would call, perhaps no more organic. A poem as words of the great woman (p. 40), contains a variety of colors, smells and tastes in languages \u200b\u200balso varied with a claim because the woman's total commitment is total and the lighter speaker makes all the final twist: This body with this size I have no envy or ask anyone (words of the great woman, p.40)) acquiring a sense of utmost seriousness because it is the man who must change their attitude towards it. Other poems with or without us, they imply that the speaker called almost afraid, be ignored and left in a vote of future new attitude before it occurs and no one fateful move a finger to stop it.
not fear the words, I believe that the poetry of Jorge Etcheverry apart from its various rhythms, allusions, tone and speed, is a spiritual ecology, a lot of catharsis in all this and feels the way after shaking shoulders of accolades, awards, given or requested support, awards, all that "do not confer talent yes / no value to the individual. It / if not viewed from the ground ... "(De poets, cats and carnage, p. 89). And that loses the thread as confusing to refer to it, no, that does not count. Hence, again the only poetry book poem in which she will talk about "that woman always wet, always attentive / And true, young / But, oops, we also asked our power / youth and endless / O wise, elderly and economic / In the bed of the language ... well, took flight "(Poetry, p.94). And repeated appeals to the poet, his honesty, ending in a poetic confession of faith is a reaffirmation of identity, analysis and perspective, is an invocation: No let life becomes / poet chain (Anticlaudicatorio, p.98) because he wants to continue trading, therefore, needs to be true to himself. In passing, I mention that the poet and poetry are as lovers and in Etcheverry find an eroticism that has always been if not absent, very content in Chilean literature, such as humor, as one friend, are too solemn. Sure, after Parra, will say ... but before that? Yes, there are more but not always very imaginative fine nor the poet feels the need to Jorge, etcheverrysearse, only poetry can prevent that "my profile looks straight" or not knowing what to write, not to be: unknown bird (...) Jorgéame (...) Etcheverréame: Arcayéame well Arcaya not want to forget where I come / To keep stretching / like a cat in the sun "(Anticlaudicatorio, p. 98). Yes, we want to follow this bird persistent and arcayescamente asianwebcamgirls etcheverryesca.
Notes (1) Etcheverry, J.: Cronipoemas, Split Quotation, Ottawa, 2010.
(2) Ortega, J.: An Anthology of Latin American poetry, Mexico: Siglo XXI editors, 1987, p.6.
(3) Language, reality and memory in the poetry of Jorge Etcheverry, Qantati. E Books, 1, 2009, pp.59-86
(4) Poets and Poetry: Five writers Ottawa in: Anthology of prose writers and poets speaking, to appear in Toronto.
L. Fernando Veas Mercado, State Professor at the University of Chile, Ph. D., Université Laval, Québec. He has taught at the University of Chile, Valparaíso, from 1966 to 1973, at Laval University between 1974 and 1981, the University of Ottawa between 1982 and 1987 and the Carleton University between 1981 and 2000. He has published articles in journals, Chile, USA, Canada, Mexico and Peru on the theory, poetry, theater, poetry and English-American novel. Unam at ESEC, headquartered in Gatineau at the Autonomous University of Mexico has taken courses on English American story, creative writing on the English-American story, the poetry of Pablo Neruda, Don Quixote and The Narrative of G. García Márquez. He has given numerous lectures and conferences on Hispanic writers and has produced several books and authors in Ottawa and Gatineau.
