November 2010

The ineffable to a narrator-observer: CALENDAR, Jaime Pinos

Poetry can be one of the most powerful tools for the investigation of all that still holds and will continue to save the human phenomenon as buried treasure, and no doubt much of its history the appalling experiences of an intimate or Rimbaud Hölderlin constitute a fundamental part of this road. However, it would ignore the profound paradoxes that form the basis of the trade to forget that say something about poetry is always a work in vain: the unveiling of poetic language ever had the mission to see what actually was there, but only on the surface of words reached a level of real- presence in that life in the language does break the illusion of life to be alone and is a sign of community. Poetry as the language of the tribe, in this sense, the enemy of secrecy, understood in the deepest sense, only in so far as something deep within human society has been severely shaken.

Therefore, the will of testimony, account, in its deepest sense, is a of permanent trade privileges poetry, and more so when can attest to their limits. Who well knows is Jaime Pinos (Santiago, 1970), which has published this year 2010 Almanac (Santiago: Flamethrower Books), after the novel Mustafa whiskers (Santiago: Flamethrower Books, 1997) and Criminal (Santiago: Flamethrower Books, 2003). In his new book appeared, this desire for truthfulness is palpable effective and repetitive ad nauseam, and that from the very tone of the poems, his back to any pretense of embellishment, and even operator privilege. In fact, within the complex, there are several texts, even are present in the poems, are not at all a poetic creation, and indeed, even to the authorship of the poet-a story that clearly indicate their source in the radio website information, a fragment of a message my compatriots Pinochet left to be known after his death, an official of the Chief Plaza de La Serena in 1973 that accounts for the execution of several prisoners in the framework of the "streamlining process "conducted by Sergio Arellano Stark, and an article by journalist Patricia Verdugo. The passage of Pines wants to be, if anything, more crucial: the situation of the author himself to be one of the axes that encourage Almanac, as shown by the texts under the heading "Side Note" (among others), in which his life and will be presented in a book-detached third person:

Write looking

synchrony

biography and writing.

Write looking

clearly

style and silence.

Write looking

fact

detailed

of Situation in found.

This Location , highlighted by a capital letter, seems to appeal directly to one of the last moments of confluence between art political and artistic avant-garde in the twentieth century: the activity of the Situationist International. In this context, defining a constructed situation as a moment of life concretely and deliberately constructed for the collective organization of a unitary ambience and a set of events , ie as a form of resistance to the situations previously constructed and legitimated from the media. However, from this perspective Pinos poetry seems to point rather void and tragic existence of the collective after the possibilities of the author, leaving repeatedly set the seal of his impotence, because of its own and decided alignment as author-poet-it is prohibited role actor, and this, at the same time to point out as a witness, he limited. His office is marked by futility, to the absolute awareness of their marginalization:

Recidivism inevitable,

same vices and hobbies.

Lost Time,

poetry,

pure poetry,

among other works

perfectly useless,

noted in hopeless poem that opens the book, which describes the celebration of New Year's Eve at the table relatives, as to the happiness of the party, the speaker must recognize the somber assessment of his time and situation: Nothing new / next year (...) The same time / No future (. ..) , followed by the dubious and obviously transient delivery to happiness, one that sparkles like fireworks . It

brackets, then the meaning and value of artistic work and, therefore, that the role of the practitioner. That pure poetry, marked by futility and a marginal role, can only be doomed to alienation. The possible answer, in this sense can be put into the perspective of the thesis 210, Society of the Spectacle (1967) by Guy Debord, one of the central texts of the activity of the Situationist International :

Only the real negation of culture retain their meaning. She can no longer be cultural . So that is what remains, somehow, the level of culture, albeit in a completely different meaning.

This is referred to the time when the culture as separate expression of reality loses all up and is unable to account fully for any instance, must refer to his own impotence if it falls into the fallacy of a positive practice, dead. Examples of this awareness by Pinos multiply throughout the book, and before it raises the possibility of a vanishing point, through direct appeal to models in his first term are decidedly out of space art culture bourgeois

Write to the way

Rosa Araneda,

Hipólito José Casas,

Bernardino Guajardo,

Daniel Meneses,

Peralta Juan Bautista,

Patrick Miranda

Pancho Romero.

Write to the way

of anonymous poets

or lost in the mists of Chile.

tabloids.

Red Chronicle.

Latest News.

Verses to the human,

for literature.

words to hang

in the stall of the pitch blind.

Write

LIRA POPULAR .

This involves taking a writing to be able to stay out of "the general area of \u200b\u200bknowledge and representations of the historical society lived in class-divided" (Lukacs)-sphere which define and inscribe as culture in the context of modernity and their own systems of consumption and production rights. The popular lira , associated with the tabloids in the same line, blows up the procedures with which communication has sublimated popular poets traditional rhymes of the early twentieth century, to give the role of witnessing violence that makes social media similar to that displayed on their covers the latest developments: Blood signs a portrait as possible of the daily class struggle delivered to a specific code that makes them recognizable sign while jumping into the market news. The name at the time Pueta parody at the time given to the authors of the Lira Popular pointed out the difference with respect to the poets who were supposed to be away from the contingency and appealing to a context of artistic recognition and work clearly differentiated from authors such as Pezoa Véliz only confirms this court.

marginal This character of the poetry of Pines is further underlined by another of the poems entitled "Side Note"

Poetry as

FIELDWORK.

The poem as

state of affairs.

The poet as

narrator observes.

Which puts this poet is like that post- poet-observer in a plane that is the opposite of the traditional role of the operator beauty that-presumably-creation based on his imagination. The state of affairs that constitute the poem requires, then, to this observer narrator to become valid, ie reliable .

But, is this possible for this author, dwindling to just a master manipulator of words? In "UnBirthday Song" is defined so impossible to direct the recipient of the poem: the suicidal friend , reference could well be applied to the full text. This naturally implies that the poem is for anyone :

Greeting Card

unaddressed in this world,

sent somewhere

among immigrants from no man's land.

words in a vacuum,

gloss text

as death.

The text is marked by negative attributions, and the role of text ends up being rather to present the state itself - situation - the author. The log will actually cold sinks naturally in solipsism and silence.

can not be otherwise, from the moment paired Pinos is solved with reliable validity: Almanac becomes, from this perspective, an ostentatious defeat, which leaves standing only the precariousness and marginality of a subject to a post-culture that give only a non-word response, understandable and empty. This non-word takes various characters within the poems, accessing thus an important key to understanding Almanac. Be in the silence that occurs naturally in a text that was built similar to haiku, seems to fall outside the book ("HOLIDAYS") in people who swallowed earth, / quiet silenced of Plot 29 on the eponymous poem, ambient music in which silences the scream of a suicide bomber in a shopping center ("BACKGROUND MUSIC"), or the disagreements / in the empty space of language Yellow Entertainment ("Show business"), the absolute disposal of the alleged observer narrator about her that was supposed field study shows clearly the impossibility of poetic art, as well as of overcoming it. The evidence of failure is the only valid, the only evidence possible.

This inability is not born, yes, from a purely abstract language. Arises, in fact, as a clear consequence of historical development, and this is where Pinos reaches a very remarkable achievement: the grim diagnosis of society only shows its deep pit behind the glass of this alienation fundamentally and radically personal. Thus, the absolute frustration of the elderly abandoned by their families or are dismembered figures Hans Well done on purpose to indicate more than the fact of poverty or deprivation, indifference or cruelty by an abstract entity called CHILE and the Dulce Patria, on the palpable and almost shocking reality of their lives "the violent expression of the short poem" SON OF THE NATION "is clear in this regard:

Hans Pozo,

son Chile,

receives the Dulce Patria

A LIFE MADE PIECES.

The central role of this sign of profound perplexity of the subject real hurt to a ruin abstract remains valid with the poem "MUSA", in which the figure of inspiration is embodied, not ironically, by a delusional and violent beggar whose last gesture, intense and briefly emerged as a separate line is disappears [r] territory. The vivid evocation of Gonzalo Millán, strongly marked by the sign of death, is but another form of this figure. Almanac

, then over to reveal a poetic determined rather reveals a tension of wills: first the consciousness that still belongs to the poetic art, which stresses its paradoxical validity to be assumed without hermetisms, directly, with all the ethical dimension to this traditionally assumed ( I choose words that you recognize , says in the "Elegy" which closes the book), and the other consistent evidence of the futility of their work-may be even the evanescence of smoke snuff as a figure that gives a nod to that effect ("ACT 11,785 ") -, in a sense, the tension between civil poet, marked by their social conscience, and the dandy baudelaireano, marking the painful awareness of their personal and intellectual alienation. The non-retractable, but this conflict reveal fundamental understanding of contemporary poetry: think Jorge Teillier, significantly referred to the beginning and end of the book, is a major achievement Almanac, in an environment in which unidimensionality of the poetic speaker is almost a habit.

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