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PAST MY CONTRIBUTION WEDNESDAY, DECEMBER 29 IN THE PROGRAM TODAY FOR TODAY CARLOS PUIG, CONDUCTED AT THIS TIME BY IGNACIO LOZANO
http://www.wradio.com.mx/programa.aspx?id=13616&au=1404333

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2010: DISASTERS, AND ALLIANCES

CONTRIBUTION TO MY RADIO PROGRAM TODAY FOR TODAY DRIVEN BY NACHO LOZANO SUNDAY DECEMBER 26, 2010

http://www.wradio.com.mx/programa.aspx?id=795393&au=1403214

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poetic nasty

Every so often, very once in a while, you see a blogger production worth recommending. I here one of them: poetic nasty staged, so exquisite, imagination and erotic lovemaking practices of Greco-Roman antiquity in the eyes of its poets (Asclepiades, Ausonius, Catullus, Claudian, Horace, Lucian, Martial Priapeo and some other graffiti anonymous), in wonderful free English versions bonearense, Gabriel Brown and exquisite public recitations Elena Bonora.

Description:
Quodque turpe facere non est, so Occulte, id est dicere Obscenum.
(Cicero Off. 1, 127)

Justification:
is, not because there is Original, it is possible the translation, but rather, precisely because no translation is possible to consider the original formulation. (Fabio Vélez Bertomeu)

Church Anniversary Memoriam

imprisonment and common jail for Videla and Menendez for the execution of 31 political prisoners from the UP1

The Federal Court 1 of Córdoba sentenced to life imprisonment and disqualification repressors perpetual Jorge Rafael Videla and Luciano Benjamin Menendez, who were tried with 28 others for the torture and murder committed in the Unit No. 1 Prison in San Martin, in the jurisdiction of the Third Army Corps from April to September 1976. The court ordered the "immediate accommodation" of Videla in common jail, while a medical examination requested Menendez to "determine if it is in position" to serve the sentence in a provincial jail. In the same trial were sentenced to the same punishment the military Vincent Meli, Charles Poncet, Raúl Fierro, Jorge González Navarro, Gustavo Adolfo Alsina, the former carapintada Enrique Pedro Mones Ruiz and Miguel Ángel Pérez Former Cpl. Among the police, received life imprisonment Luis Alberto Lucero (D2), Calixto Luis Flores, Yamil Jabour, Marcelo Luna and Juan Eduardo Molina. Download the entire statement. Pdf.

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To exit the terror of oblivion uses * Written

"You also you have inside." Provocative, mischievous and Creole, the words of a deified Maradona opens Volume I (AG) of Dictionary of Argentine literature and criticism , directed by Marc Rocco Carbone and Croce. A stance that, far from overlapping, it is assumed passionate statement from the preamble signed by Ana Ojeda. No room for neutrality's alibi. The collective work relies not on asepsis descriptive, which usually benefit some rhetoric academic. It is a dictionary "smelly", "for those who have our own smell", "not merely descriptive, timid and politically correct" but frankly, determined and "played" like a cross to the jaw of "objectivity" and " Prophylaxis limited to petty. "
Slaughter-ambitious, quixotic, monumental, giving away the source the "No" from the Father. Categorical, Boris (David Viñas) apologized to his old age. Then, the Chronicle said that the Tano (Carbone) defines Ojeda with the guidelines of this dictionary, "neither pedantic nor basics: balanced." The boutade Viñas that "Walsh is better than Borges' becomes axiomatic and justifies the need for a volume devoted to literature and criticism of the twentieth century within a field covered by the marketing strategies", in depending on a model of voluntary servitude, defined the model constitution of a canon scheduled by stereotypes, "the Argentine writer (Borges), the Argentine writer unclassifiable (Aira), the young Argentine writer (Kohan), the marginal writer (Lamborghini) ".
In the desire to live up to that challenge can be perceived generosity and his outrageous claims and the extent of voluntarism: the tug that on exercises the right passion. Because, if the purpose of work is a reasoned review and update the fee regardless of the "market" (relocate their emphasis, rearrange their visibilities), the reason justifies the choices and content of the "inputs" to the same extent the passion he recorded his interference.
In the 640 pages of the volume, it is necessary rescue and oblivion predictable. But there are also omissions unjustifiable. To put some names among the writers (presented by their real names, not their pseudonyms) is Jorge Baron Biza but does not appear Edgardo Cozarinsky; is Hernán Brienza but Cristina Forero (María Moreno) are Bruzzone, Budassi, but Castro and Dorr Paola Caracciolo (Pola Oloixarac) and Flavia Costa, are Cadícamo and Flowers but not Contursi or Dizeo or Expósito, are rescued or Valentine Banez Fernando but it lacks important authors as Arturo Capdevila, Miguel D. Etchebarne and Eduardo Dessein. In the field of criticism, are Coccaro and Batistessa but Ciocchini Héctor; are Mayor and Gibaja, but not named Adelaida Gigli or Diana Guerrero are Giordano and Gramuglia but no posts or Miguel Dalmaroni Nora Domínguez; are Cueto , Estrin and Garramuño but inexplicably missing and Gonzalo Aguilar Raúl Antelo, among others.
Every company takes the blame encyclopedic be fatally incomplete. The ghost haunts the whole. This is not the exception to the rule. However, this fails to completely undermine the critical work of the researchers involved in volume or Taurus stake of the 8th crazy, coming to rescue the book Lafleur, Provenzano and Alonso on the literary magazines and reissue valuable works of Olivari, Mariani and González Tuñón. On the contrary: the power. The reason and passion always feed the fire of criticism.

* Appeared under the title "The challenge from A to Z" in Revista Ñ , December 11, 2010. p. 26.

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The wedding of Karen & José Luis

Yesterday Sunday, December 5, my cousin Jose Luis married his girlfriend Karen . We were all summoned to the 18.30 in Churru house, and there we planted as always patrol in full-Mingo and friends of the couple.

Karen asked us women who llevásemos a hit in her hair, and we take it really seriously. I was posting in some and in others, with their feathers, their hats and beads several, most of it provided relief Churru, and others a bit more modern, the result of several evenings of hustle and accessories stores.

The truth is that I had bought a Greek goddess gown for the event. He had been thinking for several weeks in shoes, purse, and of course, in the hit ... I started to get ready after lunch. That if you straighten your hair, if you look closely at the outfit ... I asked my sister to observe my home fashion show to offer his most sincere opinion about my outfit. Conclusion: I ended up putting another dress, a black cocktail dress, black leather pumps, black handbag too, and played the style Black Widow, which certainly highlighted the color of my eyes, and gave me a touch vintage ad hoc quite my style.

Overall, I came home from Churru, I started to say hello my family (for those who do not know, my family is huge, taking about half an hour to go one by one giving kisses, hugs and cuddles miscellaneous other end with a more formal greetings) that if a kiss from here that if a how are you there ... But what touched nicer! But how original! Where's the groom? And who brings the bride? You look great in that suit! ...

After half an hour above and rigor of welcome, hugs and Charlet corresponding with Churru-what more is, "I approached the large wooden door the house, which opened from the outside, and saw Karen in white, with a lovely costume and a headdress of white flowers that suited her perfectly.

The civil ceremony was short but nice, my uncle Joseph Augustine as officiant, devoting an in-depth and valuable about love, marriage and cohabitation. I loved it!

At the end of the ceremony, Karen said a few words very excited, and most of my cousins \u200b\u200bwho responded with tear occasional discreet, and sighs of empathy. I had never been in a civil wedding, the truth is that I seemed more emotional and far more entertaining ...

We stayed a while there, waiting to open the restaurant for my cousin who married the same, where would be the dinner. When we arrived, a row of tables patiently waited for all the guests to occupy their respective places. And once seated, we expect to be served dinner.

Everything was delicious, the waiters were charming, and the conversation was pleasant to say the least. We heard jokes, jokes and messages of congratulations. Between courses, I was doing thinking that I did not share, but closed with enough tact that my family over the years is ... Unleashing . I mean, for years to come noting that we are becoming more natural, comfortable, and far more open. We are not so closeted with those of rolls protoculo (if I heard my career teachers !!!), and rigidities.

I realized that it is much more important to enjoy to be constantly thinking about whether something is right or not, if it is a vulgar, a shovel or these terms more than me lately as I find curious. It is true that beauty is always beautiful, and there are things more beautiful than others. But ... Would not be much better to learn to see beauty wherever we go, a constant that depends others do things as we believe it is beautiful, or correct, or appropriate, or elegant, or fine-?

the climax of the wedding came when the couple-the husband-cut the cake with a kind of ax. A quick blow dry, a discrete to kiss, and languages, and aunts were flushed, and general laughter, and critical views, and fun friends, and people in general, a close family, a wedding, with your support, wrapping up two people starting a new stage ... And of course, the formal incorporation of Karen's family.

Karen, welcome to the clan Mingo!

Karen with my uncle José Luis

Single Seatbuggy Plans

on the outskirts of the poem *

A collection of texts by the poet Arnaldo entrerriano Calveyra where light and water flow between a trip to Uruguay and criticism of the "disciples" of Gombrowicz.

For Maximiliano Crespi
The essays collected by Arnaldo Calveyra in Mozart's The White Horse come to ratify the editorial consistency that holds the exquisite catalog equilateral Beast. The titles of the texts that compose it can recognize that we are faced with a neat collection (and not before a series): the apparent heterogeneity does not prevent him crawl on a principle of organization of material (based on constant themes) that dissolves the arbitrary chronological order. And that's why the book is likely doomed to deploy a retroactive influence on the surly work whose author describes as a work "learning of silence" and whose value has not yet been argued with probity.
Written mostly in France, where the poet entrerriano lives since the mid-'60s, and unpublished in book, the essays gathered here may well be read as an extension of two basic metaphors attending a certain tropes traceable settings on experience poetic calveyriana: light and water. Water recurrent topic of this poetry that grows in the distance, through names, uses floats and states: a river (Bièvre) is another (Uruguay), and that river is still present and "buried, as the banks of the literature "that lost the remnants of broken memory of a district boundary, a shadow of a poem light fade amphibious Rezé streets open fan charged by the Loire and Sèvre; is the Paraná River, the Seine and Rio de La Plata, but also sea, rain, dew, mist and stream, and ink stain that extends over the blotter.
metaphors of light, for its part, us to think the text as a particular tried variations on the theme. Rhetoric of light and can be read in the image of Mozart trapped in a game of mirrors between the floor of the theater (not written) and the theater of the word in his letters, with a look through the invisible denaturing daily (the miracle Secret of artificial light in a street kiosk Mazarine), extends in a guessed entretien infini and lived (talking is listening) from the window of a hotel in Kyoto, and is projected to dream of a meeting with Antonio Madrid Machado, in something reminiscent of Borges and Lugones threshold The maker (and still is split into the "story" that from a light blindness, Borges gives away to oblivion of Entre Rios). The metaphor of light is a catalyst for the senses. Allows the poet to own these "details" ("those places where no one comes), these discoveries which incorporates the constellation of experiences so. The light has the outpouring of a nightmare in the Park Güell and the chaos of images from a trip by bus from Colonia to Montevideo, while linking the ubiquity of light hic et nunc in the images of Lafarge, "the light stolen sea \u200b\u200b"in the suburbs Mordzinski drafted by" the exultation of light "in the landscape of Saint-Nazaire port, sky light that is clears the ball of cloth into a wasteland of province, and the distant voice of the teacher explaining the liturgy of the "order Tempered or sit at the piano to play a Beethoven sonata for" shed a light on the walls of this darkness called music "or that transmigrated to the voice of the poet, traces the basic features of this community is the classroom impossible. Moreover, although not always characterized by brightness, also responds to this condition the oblique gaze poured over certain literary experiences as Pedro Páramo (read as a poem written on the basis of elements of Noh theater), The Mahabharata (in the hallucinatory imagination Peter Brook), the curiosity of Montaigne (Narciso founder of modern literature that interrogates the promise Kafkaesque saved in the legend of El Dorado), notes on the endless game that involves "writing" in the texts of "the last days "Leiris (not stop referring to his own ghost) or the dilemma of translation in the light of stuttering occurred between the words of the poet and the Laure Bataillon, the translator stubborn in their fight against the language Drowsiness .)
rigorous exercise in a decadent delicacy poetic prose, which is less important rightly reasoned articulation of the idea that the experience of language that is done in reverse Search the pretext Calveyra proposes a script filled with a brilliance that mitigates the irrelevance of certain passages, certain scenes, memories and confessions that are more responsive to the demands of the imagination of the poet who desire to "be involved, this perfectly where meaning falters there for and function of something that was not. " To mention a subtle invective on The Invention of Morel, a scathing critique of the "disciples" of Gombrowicz under Fischerman film, and a less ironic that chicanero dedicated lines to the "realism" and the "nationalization of the literature" encouraged since 1945, writing "eclipse" from a generic condition "marginal" and since the inauguration of the "occasional" as a place of truth, the book is made from a drive outside the libido of the controversy. The phrasing that at times takes the liberty of Latin syntax rigorous returns the test at the outskirts of the poem and tied to senseless passion is to write and keep writing in "early disappointment of the page." Prose, "a touchstone of the poem, and makes possible the return of the" suspended time "that characterizes the poetic calveyriana, where only" the rhythm carries the meaning. " It is in those phrases where it occurs, the final wish is impossible (and therefore necessary) Archaeology of light, the experience of the nuances, the twinkle fugitive words that record, a chisel, as in the Alexandrian "Light province "Mastronardi or an inch of canvas painted by Cézanne, the intensity of literary truth.

* The full story in Ñ Journal, November 27, 2010. p. 43

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Vanoli, melancholic *

As Alberto Giacometti's emaciated figures, featuring the voices wonderful Varadero and Havana seem to come from afar. Signs of having gone through a time impossible to crisis and destruction, but remain standing, walking. In its own development appear to account for a movement impossible (and therefore the same as applicable) to back these voices to his illustrious ancestor, "In the silence you do not know, follow, I can not, I will follow" . They have survived the destruction of the languages, the promotion of utopias, the politics of representation, and move under the dual path of cynicism and disenchantment. The problem is that, unable to make the grieving loss, have sunk a long feeling melancholy. Hence it can not be assimilated (Not told) to return again and again in the hallucinatory tales that always denatured (at that spot on the wall in place of a cataract of ways in which the real loss is drained). For these voices will not be the label of neurotic repression, the loss is not made by proxy or by transfer. The voices told by Vanoli are strictly melancholy. Objectify fail at any moment the size of the loss. Are not the place nor the time to wonder what happened (perhaps precisely because it has been , because in fact they still are going ). Remain torn at a crossroads insurmountable claiming for themselves the sight of an open wound between fear (self-punitive) and denial (mania). Vanoli's characters are voices, forms of fiction which inevitably refer to subjective processes of constitution of collective memory to the disaster or trauma. To them it is impossible to think of the immense difficulties that required the fact that be subjective process (even at the level of language) policies and collective historical experiences, even when his own tragic content (resistant to all conscious processing) seems to be a determinable denied a permanent destination. The melancholy that hovers in the voices do come to Varadero and Havana wonderful in a cesspool. In its grim journey translates text and produces a matte that flooded much any kind of hope and despair. The melancholy defines the tragic dimension of the book of Vanoli. Is the wet spot that opens a new wound: the space in which the apocalyptic return and consume the post-apocalyptic fiction.

That is the tragedy of the tragedy that is heard over the voices that make up the fiction and is also the only one would criticize Vanoli, that this post-apocalyptic fiction Varadero and Havana is wonderful turn be apocalyptic. Because if you do not configure melancholy a circumstance, a temporary impairment in the process of grief, and if, by contrast, is presented rather as a permanent dimension of these stocks marked by tragedy whose experience will never reach go through the language, the corollary can not be more apocalyptic: the denial of the tragedy in his tragic condition, the final location of melancholy in the place of experience.

* The full story published in The Interpreter , November 2010.