helpless Given the reassurance or acceptance of what exists-feature general of narrative fiction, "the certainty that we live lives permanently in the absence of something is one of the foundations of what it calls a poetic emotion. So paradoxically, even the absolute uncertainty that surrounds the poem missing a characteristic dimension that even the layman recognized within the always vague and inexplicable definition of poetry. Crack up
(Santiago: La Calabaza del Diablo Books, 2010), fifth book of James Retamales (Santiago, 1958), confirms him as the cultivator of a poetic decided that this side of dazzling formal or truth claims, company making the impossible privilege to portray a state of mind in which the feeling of freedom is central. Rather than something that is missing in his surroundings, here ends this lack constitute the same speaker, it suffers from the haunting nostalgia that is in the finding of the passage of time or in the romantic story ends up taking him to a knowledge essential to a poetic truth. Thus, the poem BREAKING:
give me back my useless objects
my eyes and the street was a poem memorable Massino
and Truffaut The four strokes of all my useless objects
is an issue that escapes the
hands and one that is fired!
Each of these absences and nostalgia mask a dimension that only poetry seems to be able to account. Thus, in the romantic song with variations, from the beginning, reveals the absolute awareness of the inadequacy of the means at hand of the speaker, with an emotion that goes far beyond the breaking story of a love:
is that one does not
should pronounce unknown words
to the representation of a world gone
your wounded eyes tired cheeks begin to overflow
and wheels for the city of red night under the powerful influence
Voodoo
days night and day and night on the crunchy leaves
killed a woman is not a real man is not all
can not be rolled to the feet of others (...)
This town red at night suggests a permanent locus within the poetics of space Retamales-destructive bohemian section, which requires night-time privilege. This time, there is no real productivity and personal desire banishes all other possible ethics goes far beyond the figure of an eternal present, is also given as extra room for nostalgia, and the poem RESONANCE NIGHT .
then hung Vanity
effortlessly rose
successive daily trials shrapnel from a night
resonance gaps and fatal
trampolines which vibrate in a thin veil of smoke illicit plagiarizing in an arc
pure caricature of a kind description
life believing our feet
supposed to lose like nothing foolish to the disaster
That time, though unspecified, marked by a bottomless courage and self-neglect, is one of the strongest brands in the Retamales poetics that is a strong follower: I mean that consciousness scriptural born in the midst of vigorous scene interwar capitalism in the literature in English, Lost Generation, whose main features are then read on the film and the novel called Black, the Beat writers like Raymond Carver and JD Salinger. This scriptural consciousness, starting from the assumption of the defense of a certain realism of simple intellectual development, is able to consider the mission of presenting the void radical social system in which everything has fallen prey to a quantifier and dramatic flow, focusing on the individual who usually takes the central role, and fully and openly represents the narrator's perspective, this burden marginal and aware of one who robs or ruined with some violence, the veil mystifying to see the absolute destruction of human possibility, and therefore of himself. The footprint of this moment in the history of mass culture, because it is strongly in this area, through much of the Chilean literary production in the late 80's as a reaction to the defense of some community or social idealism in what remained of intellectuals and artists involved, much more naive and simple to develop intellectually that would effectively militancy, or what it meant to refer straight to the collapse of collective utopias. Broom can be located within this locus raised from this new romance of an individual conscious in the heart of society of alienation and the show, and from this perspective to an index on the situation of the designer and the scope and meaning of his action which other authors, both contemporary and present, have only been solved in a solipsism which leads to the complacency.
(For examples of this narrative excel in both the empty and simplistic claim to truth or Marcelo Lillo Marcelo Mellado, as the mechanics of policy implementation Roberto Ampuero, that only end up generating machines for self-advertisement calling itself a vague and distorted privilege ethics. In the case of poetry, internal criticism which the poetic force generated from the 80 works so far makes accessing this new kind of romance can not stop showing the fissure that is, what they do enter the text for the necessary presence of others: the ethics (eg., Diego Maquieira).)
The possible breakdown of this solipsism is presented in Crack up completely obvious: the poem can not stop and reposition placed about the life around him and feeding. The poem itself appears in several of these texts, showing their power to interact and define the place and the intention of the speaker:
the poem points us slightly
that builds us
unknowingly move some things hidden details
attention to your eyes go
(NOS POINTS A POEM)
people are themselves masters of all poets
but not write a fucking verse
fall apart and assembled when needed
throwing their lives to life:
imperfect and unnecessary kind.
(of people self-possessed)
somehow we got here
not know when but it happens to sink the nose
not a poem or book
but life is everywhere
(frag. of IN ANY WAY TO GET HERE)
From this awareness, the approach of gesture-determined and even violent, as necessary to overcome a self-sufficiency be able to involve your self-splicing occurs from the epigraph itself, Eugenio Montale, and is reiterated throughout the poetry found in the book. The apparent crisis that occurs between the need of this strong will and the obvious helplessness and loneliness of the speaker (the imminent crack-up referred pain from the title and the poem of the same name) is, in this sense, the foundation for a more poetic dense than the simple representation of a desperate gesture or a statement absolute and sickly self. Are important in this sense, the poems relating to Cuba, that put the speaker up Crack against collective idealism and persistence of the past, defined by denial as an inhabitant caught in the situation in the ruin of the world that touches their Winter drums.
With Crack up , Retamales not only confirmed as one of the prominent voices in that vague area that the inhabitants of central Chile, lying north of Santiago, but was confirmed in one of the most difficult paths within a country grand: to present a strong personal poetics, which seeks nothing less and nothing more than account, through himself, of a universal and permanent setback in our ways of seeing the world. A small step that involves one of the biggest bets in the literature.
other hand, should acknowledge the strength that has been building a catalog of poetry books The Devil's Pumpkin, that the past few years continued to grow with new works of Gladys and Raul González Hernández, as well as the debut Priscilla Cajal Termites. Readings are always open to high-risk policy from the vindication nostalgic memory to extreme psychiatric frankly, "Books Diablo Pumpkin still represents one of the dissonant voices needed, and swearing-in of the false harmony inherited by twenty years of board policy.
(Santiago: La Calabaza del Diablo Books, 2010), fifth book of James Retamales (Santiago, 1958), confirms him as the cultivator of a poetic decided that this side of dazzling formal or truth claims, company making the impossible privilege to portray a state of mind in which the feeling of freedom is central. Rather than something that is missing in his surroundings, here ends this lack constitute the same speaker, it suffers from the haunting nostalgia that is in the finding of the passage of time or in the romantic story ends up taking him to a knowledge essential to a poetic truth. Thus, the poem BREAKING:
give me back my useless objects
my eyes and the street was a poem memorable Massino
and Truffaut The four strokes of all my useless objects
is an issue that escapes the
hands and one that is fired!
Each of these absences and nostalgia mask a dimension that only poetry seems to be able to account. Thus, in the romantic song with variations, from the beginning, reveals the absolute awareness of the inadequacy of the means at hand of the speaker, with an emotion that goes far beyond the breaking story of a love:
is that one does not
should pronounce unknown words
to the representation of a world gone
your wounded eyes tired cheeks begin to overflow
and wheels for the city of red night under the powerful influence
Voodoo
days night and day and night on the crunchy leaves
killed a woman is not a real man is not all
can not be rolled to the feet of others (...)
This town red at night suggests a permanent locus within the poetics of space Retamales-destructive bohemian section, which requires night-time privilege. This time, there is no real productivity and personal desire banishes all other possible ethics goes far beyond the figure of an eternal present, is also given as extra room for nostalgia, and the poem RESONANCE NIGHT .
then hung Vanity
effortlessly rose
successive daily trials shrapnel from a night
resonance gaps and fatal
trampolines which vibrate in a thin veil of smoke illicit plagiarizing in an arc
pure caricature of a kind description
life believing our feet
supposed to lose like nothing foolish to the disaster
That time, though unspecified, marked by a bottomless courage and self-neglect, is one of the strongest brands in the Retamales poetics that is a strong follower: I mean that consciousness scriptural born in the midst of vigorous scene interwar capitalism in the literature in English, Lost Generation, whose main features are then read on the film and the novel called Black, the Beat writers like Raymond Carver and JD Salinger. This scriptural consciousness, starting from the assumption of the defense of a certain realism of simple intellectual development, is able to consider the mission of presenting the void radical social system in which everything has fallen prey to a quantifier and dramatic flow, focusing on the individual who usually takes the central role, and fully and openly represents the narrator's perspective, this burden marginal and aware of one who robs or ruined with some violence, the veil mystifying to see the absolute destruction of human possibility, and therefore of himself. The footprint of this moment in the history of mass culture, because it is strongly in this area, through much of the Chilean literary production in the late 80's as a reaction to the defense of some community or social idealism in what remained of intellectuals and artists involved, much more naive and simple to develop intellectually that would effectively militancy, or what it meant to refer straight to the collapse of collective utopias. Broom can be located within this locus raised from this new romance of an individual conscious in the heart of society of alienation and the show, and from this perspective to an index on the situation of the designer and the scope and meaning of his action which other authors, both contemporary and present, have only been solved in a solipsism which leads to the complacency.
(For examples of this narrative excel in both the empty and simplistic claim to truth or Marcelo Lillo Marcelo Mellado, as the mechanics of policy implementation Roberto Ampuero, that only end up generating machines for self-advertisement calling itself a vague and distorted privilege ethics. In the case of poetry, internal criticism which the poetic force generated from the 80 works so far makes accessing this new kind of romance can not stop showing the fissure that is, what they do enter the text for the necessary presence of others: the ethics (eg., Diego Maquieira).)
The possible breakdown of this solipsism is presented in Crack up completely obvious: the poem can not stop and reposition placed about the life around him and feeding. The poem itself appears in several of these texts, showing their power to interact and define the place and the intention of the speaker:
the poem points us slightly
that builds us
unknowingly move some things hidden details
attention to your eyes go
(NOS POINTS A POEM)
people are themselves masters of all poets
but not write a fucking verse
fall apart and assembled when needed
throwing their lives to life:
imperfect and unnecessary kind.
(of people self-possessed)
somehow we got here
not know when but it happens to sink the nose
not a poem or book
but life is everywhere
(frag. of IN ANY WAY TO GET HERE)
From this awareness, the approach of gesture-determined and even violent, as necessary to overcome a self-sufficiency be able to involve your self-splicing occurs from the epigraph itself, Eugenio Montale, and is reiterated throughout the poetry found in the book. The apparent crisis that occurs between the need of this strong will and the obvious helplessness and loneliness of the speaker (the imminent crack-up referred pain from the title and the poem of the same name) is, in this sense, the foundation for a more poetic dense than the simple representation of a desperate gesture or a statement absolute and sickly self. Are important in this sense, the poems relating to Cuba, that put the speaker up Crack against collective idealism and persistence of the past, defined by denial as an inhabitant caught in the situation in the ruin of the world that touches their Winter drums.
With Crack up , Retamales not only confirmed as one of the prominent voices in that vague area that the inhabitants of central Chile, lying north of Santiago, but was confirmed in one of the most difficult paths within a country grand: to present a strong personal poetics, which seeks nothing less and nothing more than account, through himself, of a universal and permanent setback in our ways of seeing the world. A small step that involves one of the biggest bets in the literature.
other hand, should acknowledge the strength that has been building a catalog of poetry books The Devil's Pumpkin, that the past few years continued to grow with new works of Gladys and Raul González Hernández, as well as the debut Priscilla Cajal Termites. Readings are always open to high-risk policy from the vindication nostalgic memory to extreme psychiatric frankly, "Books Diablo Pumpkin still represents one of the dissonant voices needed, and swearing-in of the false harmony inherited by twenty years of board policy.
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