1992 1 Oz California Gold Coins

kills Jump is a book unclassifiable. The first impulse is located halfway between the "figure" (that is traced by Diogenes Laertius, reinvented Schwob and cultivated with admirable precision among us by Borges and Chitarroni) and the "trial of writer" (the little genre that Luis Gusman sensed between the critical work and the privilege of literature). But no. The book by Hugo Savino Coagulation may not end in any of those spaces textual determination. First, it is not a book of essays. Nothing in the argument in terms of testable hypotheses, or anything like that. There are, however, a rigorous sequence of declarative sentences, judgmental, a flurry of phrases, sprinkled with citations to their honorees or commentators, looking (and sometimes succeed) to prove his statements from the poetic power of utterance. Secondly, the writing is too fragmentary, too scattered to make sharp the strength that characterizes the "silhouette." Looking
better, its particular and sustained dislocation grammar, syntax swirling, insistent experiment your score and your instinct to desire (not working), from which only writes about (about) objects loved or admired, seem to justify the temptation to place this book as a reflective yarn strange prose poems . But finally, the data cataloging under "Narrative Argentina" disarms the guesswork and makes a mockery of any attempt to taxonomic definition.
"Complices lone, the names of Estrin and Stephen Laura Bertola," two crazy reading, "are discovered as guarantors of the intrigue. The "madness" Estrin, whose valuable work in the first stage Santiago Arcos resulted in the publication of texts exquisite Perlongher Nestor, Hector Libertella Milita Oscar Molina and Steinberg, active happily reveals that delicious bestiary that is already the catalog (of incatalogable) of nomadic lyrics. Mad that "they are serious," Savino hits. Madness reasoned, could be added. For what are Zettel, Melodies Argentinas or kills himself Jump if not a thoughtful series of monsters desgenerados whose lineage is precisely the confusion of lineages holiday? Outside
gender, enrolled in the tradition implicitly literaliana of promiscuity, the book Savino is a daily "reading: of life": the story that describes the drift a singular experience, literary and vital while weaving a community of love, a constellation (that could be called Savino) Troilus becomes adverb in listening and suggest Claudel, Nestor Sanchez, the writer of language in contempt, brings music and prose Sollers Ayler, the women of Balzac, the writer of the great arguments and the minimum observations intersect with Kerouac, Henry Meschonnic that defies poetry and philosophizing through the score meets Zelarrayán as Mastronardi for its resistance to the imposition realistic Marina Tsvietáieva, the poet who met the dispossession and exile, brings to Reinaldo Arenas, Paul Claudel, cursed "by strains of Time," discover "an impulse absolutely essential" in their encounter with Rimbaud, Osvaldo Lamborghini, that "animal writing "whose genius (and whose lack of talent) to a list headed by Joyce brings to Simon Leys, the unique phrasing Raul Beron, such as piano or violin Lucio Demare devilish Alfredo Gobbi, becomes entangled in the list of raids in which they appear Ornette Coleman and Steve Lacy and the voices shining Angel Cardenas, Roberto Rufino, Dinah Washington and Anita O'Day, the wayward pace and thoughtful intermittency of the phrase that bears the name of Kerouac brings, of course, Monk and Parker but also the landscape that Cézanne gun in the ear of Mariano Dupont.
In any case, this is not an easy book. The way is expensive, often said Valery. As Meschonnic poem, the words of Sanchez and verse Tsvietáieva, Salto de mata offered through the generosity of Don , but claims to turn "a complete player, able to own the experience of that waste.

* Published in Revista Ñ, December 31, 2010. p. 26.