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Sangam, an adventure novel Tang


The first time I read Sangama's great novel of adventure in the jungles of Arthur D. Hernández, peturbado stayed forever. Just have my eight or nine years old and I was in the mountains of Marca, the beautiful people of my parents in Ancash. And there, surrounded by the fantastic stories aunts and grandparents who had the giant Canlín, head of the Qeqi flying, the trials of John Bear, the smiling Ollco Ichic adventures or the appearances and disappearances and Chacu auquish, these oldies guardians of the hills, I suddenly across a book equally fascinating, fabulous, lovely. Oral literature and written literature gently wrapped around me, and Andean and Amazonian characters began to throb in my veins without any difficulty, perhaps with the same ease that the patterns of the jaguar jungle, monkeys and snakes in the jungle emerged from the Andean iconography Chavin and the coast of Caral. Sangama

caught me immediately. Abel Boats, young explorer in the upper Ucayali, arrives at the village of St. Agnes where he meets the tyranny of the Governor and his minions the Bull and Piquicho. And he knows also the great Sangama and falls, of course, his beautiful daughter Chulla, the green eyes, the soft leather. Sangama

But not a man of the forest itself. Rather it is a descendant of the Andes that bears a deep wisdom that was transmitted over generations. Look for the idol, to know the keys of the return of great Inca empire and lanky while living life the mysteries of the Amazon, the habits of animals and particular habits of indigenous peoples.

But it is a novel the grand style of the novels. That is, a narrative that surrounds us with simple but evocative stories, until the items are wonderful natural and the action goes to catch our attention with its dazzling anecdotes, full of secrets revealed, verbal magic love inconclusive and to articulate the various stories of this great story.

What is Sangama ? It is the pursuit of the unattainable, the past, the meaning of our existence.

Sangama is the bet by Amazon Andean culture, where the character sees the cultural matrix that gives life to almost the entire South American continent. And he does it with a reference immediate, expensive Peruvians: the return of the Inca empire.

A first reading of the novel we would suggest that Arturo Hernández, writer, gets to the tail of indigenismo to highlight the value Andes by the Inca, perhaps his last indigenous representatives. But every time I read the novel again, year after year, are different dreams and images that haunt me. Before the speech 'Inca', I see the behavior Sangama Andean-Amazonian cast as a complementary value. Therefore

highlights, very clear, what we now call ecological behavior, a balanced view towards nature and its resources, including a baby equal to the other indigenous groups whose secrets known thanks to shared trust.

But do not forget something important: the critical requirement of Amazon to find a 'Amazonian character' in the novel in Sangama find someone completely away from the ideal required, because ultimately, the character is carrying Andean wisdom jungle, and would become a cultural hybrid rather than own original symbol of the Amazon.

However, the images are forever a competition of stories that haunt us and dominate us. From adventures with animals, even encounters with witches magical poison and kill out of greed, jealousy and revenge. What else is killed in the literature, or perhaps in real life? Sangama

But the novel is also a sweet and lovely trap for readers unfamiliar with the forest. I remember watching the plane as he traveled to Iquitos, Pucallpa and Tarapoto, readers with Sangama in hand, trapped by history, imagining that you just walked on the forest would come to find snakes or jaguars or take them to the hotel in fragile canoes.

Nothing could be farther from reality. More than a reflection of the forest, Sangama must stress the joy of adventure, the same pleasure we feel rereading The Three Musketeers of Dumas. And understanding the narrative, rather than experiment with words, is an exercise with the stories, the dreams, the magic of the worlds that we have to invent as Sangama shows us naturally and easily.

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Rogger Rivers, COMPLIMENTS OF GERANIUM


poetry Rogger Rivers Tang poet settled some years ago in the island paradise of Aruba (Dutch Antilles) and natural warm Nepeña northern city, is a hymn to the beauty and love.

But first, the author has received literary awards in Chimbote, and in 2004 was considered in an anthology of continental poetry. Member of the group was also created, Chimbote, and currently works in the cultural page of El Diario, the largest newspaper in Aruba. Praise

Geranium contains poems that permeate deep feelings of love, the real lover and the beloved absent, and with a halo of social sensitivity is also meant to reflect on the human condition.

However, the poet has not been able sutras to the vicissitudes of the distance, and the nostalgia and feeling of remoteness, travel throughout the poems. Rogger

Rivers Tang recalls, recalls the events of childhood and youth, and so his poems are songs senses to life hymns excited to faraway looks.

Not surprisingly, Ernesto Renwig has written of him: "Gifts texture lyrical poetry of Tang Rogger Rios, the musicality, delicate and fine romance, yet his poems seeps deeply human. And I'm sure, always and forever have the sea, wind, memories, a bard of these feelings as their best ally. "

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The Battle of Madrid


Pictured: Mario Guevara, Sandra Bossio, Dante Castro, Christian Reynoso, Enrique Rosas Paravicino, Oscar and Ricardo Virhuez Colchado in Madrid.

The main idea I thought at first is that travel Madrid, for the I Peruvian Congress of Narrative in May 2005, would be a great experience learning. Tucked

7 years in the Peruvian Amazon, traveling almost weekly to cities as distant and diverse as Abancay, Huaraz, Puno, Trujillo, Chimbote, Pucallpa, in short, a number of inland towns, and studying their books, sharing with unknown and unpublished authors, gave me the feeling of walking discovering a world that until recently believed to comprehend and understand: Peruvian literature.

So when next to Javier Garvich and friends published the first issues of the journal Peruvian literature, there was no doubt about our goal: to spread the rich literary output of Peru, preferably those authors invisible to critics and media.

However, from the beginning we had to resist the onslaught of a rigorous nothing Vargas Llosa repeated unbearable monologue: we are cosmopolitan, the form is the most important, give up social problems in the literature, we are submissive to the market.

already in short dialogues with Dante Castro and Walter Lingán, remember the Congress theme "25 years of Peruvian narrative. When screwed Peru? ". Zavalita I always thought the character of Conversation in the Cathedral said so painful sentence was lost not understand native Peru, when he saddled his own evil. What would be more correct to say when Zavalita fucked, because since Velasco feudal world was shattered in Peru and grew one type of capitalism that mixed all types of companies in a salad unpredictable.

Therefore, while searching for bars to celebrate my birthday at the Madrid neat and clean, sometimes seemed to Lima and its old buildings and other merrily copied the 5th Avenue in New York, argued with Oscar Colchado, Mario Guevara, Dante Castro, Sandro Bosio, Enrique Rosas Paravicino and Christian Reynoso on literature that is often hidden away in the press and books for students. The fear was obvious that Congress repeated this situation.

At this point, it is difficult to assess this meeting of writers in general and make the necessary difference. On the one hand, the organizers deserve our appreciation for the great effort made, as a literary activity of this nature would not be possible without a great deal of personal dedication and generosity, regardless of the results and subsequent evaluations.

On the other hand, the quality of the papers presented itself deserves criticism, mainly for its lack of narrative Peru. Misinformation about the different forms of literature are made in Peru are due to different reasons: 1) Poor circulation of the books (the norm is a thousand or five hundred) to nearly 30 million Peruvians. 2) Critical role of the media who refuse to divulge any books that do not belong to the major publishing houses or known rings. 3) Little or no scholarly interest in marginal or non-Hispanic literatures. 4) None of publishing companies to risk by a national distribution system. 5) A critique (including reviewers) inattentive to new aesthetic. 6) Absence of an association of writers who can defend rights and to propose innovative publishing plans.

could add many causes, but it rains but it pours. The irony is that those who "cause" literary misinformation fall into a boomerang effect that will affect themselves. And that was in Madrid, as were several cultural operators (different media) which gave the picture more painful when referring to the Peruvian narrative of the past 25 years.

Congress thus far was a good way to show our weaknesses more than our wealth, to measure ourselves and know ourselves, to precisely target a more ambitious future events. Do not you deserve, perhaps, to hear researchers tell us about Afro-Peruvian literature, or that expands on the wonderful narrative Amazon both indigenous and English, and the emergence of a student of contemporary Quechua novel (I remember now a Macedonian Villafán novel)? Or perhaps without the deep cultural divisions but only literary subgenres, we hear about great storytelling, police or erotic, or someone dares to show us the vagaries of the political novel, the narrative is written in prisons, Peruvian narrative of those living abroad.

The controversy among writers broke out in Lima then only part of the problem: unfair distribution of information, racism outdated and many things to change in our cultural life, to make democratic participatory, inclusive.

There are certainly a lot to talk about narrative Peruvian Congress in Madrid was just the beginning. A great start.

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Zein Zorrilla: THE NOVEL IN THE XXI CENTURY


The art of the novel is one of the least developed aesthetic spaces in our country, not because there are not novels but because the genesis of these do not correspond to a preparation, forming a tradition for writers .

Perhaps this 'notice' is the basis on which Zein Zorrilla an essay intended to draw attention to something as basic as unnoticed. Zein wonders: Why architect for architectural studies, to be a painter, studied painting, and writing novels is not studied at all? A gray-haired lawyer with many stories accumulated or a retiree with too much free time create time to shape your life in novels and rush to write them, not discuss its right to make, but make no preparation. As the inevitable result will be very encouraging. And worse, perhaps serve as a model for young novelists, eager to emulate the work of the greatest.

Zein's essay, with these bases, build a plea for understanding the art of the novel, the preparation of the writer. This should not be anything new if our country were taught the art of fiction as in the United States, Mexico, Argentina, Spain and many other countries with strict traditions.

But Zein Zorrilla goes ahead and does not stop at the lack of Peruvian tradition, but that studies the causes for which the novel is transformed into the world, no longer the coherent artifact of nineteenth-century masters, thanks modernism, becomes mere accumulation of anecdotes in language experiment in book without plot and weak stories.

therefore causes a novel raconteur not rest in the Peruvian Impressionist tradition, but a global phenomenon that we have taken bad profits. He proposes, as changes in the novel took place in Europe and the United States, English America can assimilate the European achievements to create your own way of doing novels to fiction, not to repeat mistakes and turn this continent into space and unifying advantage of others' experiences for his benefit.

This proposal is not new in Zein Zorrilla, as in previous work proposed a novel autonomous Andean after assimilating the European experience and make the best of them, not to be a true copy or replica fake, and not to depend on European standards but rather a genuine and independent creative process.

The book is rich in proposals and, in a pleasant style and dynamic culminates in an exercise on a story by Milan Kundera. Perhaps worthwhile to emphasize something more than a great editing and a strong thought in this book Zein Zorrilla, and add the style you can be ironic and cheerful, always vibrant, accurate, friendly.

This proposal coincides with a long-standing critical to the university where he teaches literature in the country, because all it does is teach the history of literature, when it should, at least, point to three objectives: creative writing, analysis and literary criticism, and finally literary history. Needless to say that literary creativity is the heart of the race, which unfortunately not taught in universities, but as free workshops by writers (Cromwell Jara, Oswaldo Reynoso, for example) or literary critics (Willard Diaz in Arequipa).

Zein's look at our narrative is, therefore, paternal and criticism. Lanza barbs on the budgets of those who, without having the slightest idea of \u200b\u200bthe novel, asserts that the most important of these is language, and not the story or plot. Your vote for a coherent construction and an appealing argument in the novel, however, places it in an extreme situation, a decision on a particular type of novel and not otherwise.

To understand this last back to Aristotle, to quote from English Zein: "From simple plots (...) the episodic are the worst. Called episodic plot the sequence of events is neither necessary nor likely. The poets of the second frame make this kind of self-will, good poets make it as demanded by the actors: they write to compete, develop the plot beyond its potential, and are always forced to distort the sequence. " This statement is a clear criticism of episodic novels, one of the most famous is undoubtedly Hundred Years of Solitude, by Gabriel García Márquez, and unfortunately much of the Peruvian novel.

I am left with the question. And with the conviction that the efforts of Zein Zorrilla is an important argument in favor of good Peruvian literature. Hopefully not only young people will listen. The commitment is for all novelists.

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Santiago Roncagliolo: APRIL RED


Among the new narrative strands have emerged in recent years in Peru, is a sort of literary curiosity worth knowing. This current is composed of writers who know very little about Peru, have a right-wing ideological position and definitely have the favor of the media and publishing success. An additional feature is that they treat a common theme expensive for the Peruvians, who presented with profound disrespect and ignorance about the political violence. We

The Blue Hour "by Alonso Cueto and Abril rojo, Santiago Roncagliolo. His background lie in a colonial tradition in texts exude a superb racism, hatred of the Andean world and the spirit of caste that does not want to hide or conceal. Perhaps the most outstanding novel and initiator of this new trend is that of Mario Vargas, Death in the Andes, no doubt inspiring film Madeinusa . No doubt this trend will be further fueled by new novels, and there are many tales and stories in this trend are longer mentioned.

First, taking the novel directly and red Roncagliolo April, 2006 Alfaguara Prize winner (and Death in the Andes Vargas won the Metro in 1993, and The Blue Hour Cueto won Herralde in 2005), the first thing we feel is a funny situation because of an array of confusion about the situation in Peru, especially the Andes, from the novel. And Dante Castro, in his article 'Novel "absolute nonsense violence?" is solace describing the whole sum inconsistencies Abril rojo to refer to objects, events and historical facts the confusion between sinchis, civil and military guard, or when the novelist says a character "looked up" to see a hole ("a hole in the sky?), and finally, some occurrences of that caliber.

Mario Suárez also sports a great time in your note 'The strange case of metallic sandals and almonds Andes' pointing out Roncagliolo legs tucked in, as saying that a helicopter "was going back" ... Finally, although this type of narrative is fun for his profound ignorance of Andean and Peruvian reality (as I had fun with Death in the Andes ), the fact is that their fees ideological move in very specific.

pejorative phrases such as "mourn in Quechua" and "froth Quechua" abound in the text, much more when he describes the characters of the Andes. How Chacaltana, the hero of the novel? To describe it, must go to our unconscious racism or platitude to the man of the mountains. Another character Andes, the coroner, is "a short man and glasses, unshaven and greasy hair." Lima While attending the festivities are blond, white, gay, etc.. This finding is not only a glimpse of the author, is mostly part of the backbone that unifies the narrative flow.

Then we have the following link: civil war, which killed nearly 70 thousand Peruvians, is presented as mere background, like an accident story and not as the matrix of all the events that underlie the novel. War is just a barbaric écran and assigned to groups up in arms, the "walking" or a military person, but never to a government policy. Referring to the actions of 'Dog Cáceres, "the commander said: " Everyone who has seen the hole you made it almost alone. " commander himself to be the serial murderer, for noble causes, such as killing Caceres be "waking up ghosts "of terrorism. In addition, a very naive, or a tautology, talk about a war in which committed acts of "barbarism" as if there were wars clean, beautiful and "non-barbaric."

know that the likelihood is the refuge of novelists since the ship sank Aristotelian mimesis, a faithful copy of nature. Therefore, the implausibility of Abril rojo lies not in the whole previously noted inconsistencies and absurdities, but a structural inconsistency whose outcome is unwarranted. As the novel ends, we could also attribute the tragic deaths in this Holy Week in Ayacucho to any character: the book is anecdotes, deaths and no chain accumulates scenes that are necessary to achieve a consistent final.

final explanations only fed the doubts and lack of plot cohesion. For example, why the priest died Quiroz? The commander says at the end the priest Quiroz 'had much to lose by speaking Cáceres, "but nothing more. There will be an additional argument to imagine or ask the author to write a sequel or a footnote.

I've often thought if I had not been the language in Madrid, during the meeting of Peruvian writer, saying that writers write bad literature Creoles. But now, thanks to this new narrative power (How to call? Royal narrative?) I think it fell short and was shy to extend my appreciation. But it is never late.

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Jaime Izquierdo Vásquez, goodbye


Pictured: Jaime Izquierdo Vásquez.

Dantas Nancy called me yesterday to tell me Iquitos Jaime Izquierdo Vásquez, my longtime friend, was dying in the hospital. And now Martin Reategui called me to say that today at 2 am Vasquez Jaime Izquierdo died, alone, sick, after several weeks of not sleeping and not eating.

And I think: how many days and nights of conversation animated, alone or with Manuel Mosquera, under the warm nights of Iquitos, between the storms raging or the scorching heat of the afternoon. Sometimes playing the violin. He often spoke of the book he had just written. And is that Jaime Izquierdo Vásquez, who no doubt hardly anyone knows in Peru, is one of the greatest novelists in Peru.

first thing I read about him were his poems, poetry and suffering vibrant, beautiful and cruel as a torn life. In 1986 he published Putumayo River, Loreto extraordinary novel of love, war and social criticism. Then came the first two volumes of his tetralogy Lamb of God, attempt great fiction novel, which flows the life of a rural Iquitos is urban hurried steps. And here Vásquez Jaime Izquierdo demonstrates his Judaism, religion mother embracing with humility and fervor. After Black Kontinente published, winding tales of a conscience punished for the blues. His last published novel (written have many more, hopefully the family care) was the sergeant War Ballesteros, bitter testimony against Lima centralism and useless wars to defend the territory, because the politicians were responsible for cedérselos countries neighbors.

Jaime Izquierdo Vásquez not just fiction, create captivating stories and experiences with his own biography in each narrative. It also rebuilds its own language, based on the phonetic English Sephardic, and molds to the Castilian attractive functionality for your novel.

But Jaime Izquierdo Vásquez is gone. Died today. I talked to him a few months. I telephoned, I was ill, had attempted suicide and was recovering. We just shook the unpleasant news of the death of the great poet Juan Ramirez Ruiz, and a large one is dying. No matter that few know or hardly anyone has read his books. Already know. And read it. And the words sound so insignificant when there is only a great friend of the remembrance.

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Juan Ramirez Ruiz, our friend Manuel Marticorena


Pictured: Juan Ramirez Ruiz.

many years ago in Lima and Chiclayo, talking to Juan Ramirez Ruiz on his poetry, his theories, his marginal experiences. I always said that the life he led was his choice, and well, I can only talk and more talk, ask, learn, learn of His creative word. I was interested in his poetry, and he, my criticism. I told him that after Vallejo was him who else had dared to experiment in poetry, and that genius ground weapons , his writing of beans, metaphors unpublished, his vast knowledge of our heroes Amazonian, Andean and coastal, was not only superior achievement in the poetry of our day, but a challenge to the understanding of our to be Peruvian any careful reader. Now

Juan Ramirez Ruiz is dead. A bus ran over him in July last year and recently we have been told that land lies in Trujillo. Many friends are now talking about it, they remember and tell their stories with the great poet. It's beautiful to hear from all who knew him a minute, months, years, drank with him, shared a book, a word. But it is not pleasing to some who knew little or a lot call themselves stewards of their memory, warn of "vultures" or "opportunistic" when speaking of the poet soon fell silent. It is gratifying that "hateful meanness, wanting to ban testimony, letters, poems, tributes to anyone who wants to. Who want to remember it. Tell their stories freely all. Know that the poet lives in the memory of the people, and anyone who loves poetry. Ojo, curators, mean: no one owns the memory of the great poet.

I now open my files and find the outline of chronic I started many years ago, when he took notes and Juan Ramirez Ruiz spoke, drank, let half done the interview, laughed:

Juan Ramirez Ruiz: The Voice of the street / Ricardo Virhuez
Juan Villafane is 16 and has already looked at the eyes of death. But this time feels different. This time there is the distant memory of the final game of his mother and sister while still a child. Now it seems more real. Now is young. Understand things more clearly and fear. The hands of his ailing father are flaccid and thin, bony. When John returns home in mobility that brings him to Ferreñafe Chiclayo, simply head to think about the father who died in his front, no doctors or nurses to help him block his path to death. John is half way down and starts walking. Feel the lightness of life. The future can not be anything today. Suddenly, the words emerge, live images constructed with verbs, words that have it and take it by force of this present fucked and finite. That was the birth, so was born the conscience of the sentence of poetry.

Juan Ramirez Ruiz was born in Chicago in 1946, and since the death of his parents moved to Lima. Entered the study at Villarreal, but in reality it was writing poetry, reading a mile a minute and, as always, fighting their lungs with words. The poetry of that time did not satisfy him, mainly because the sounds heard in the streets and in the market, in classrooms and among friends, seemed to belong to another world, a world in which poetry had not deigned to enter completely. His room was a street poet: small, messy, warm and simple. There, in the classroom, in the cafes in the center and in bars, wrote poetry that he had owned. Met the poets who had some fame and those already published in platelets and magazines. He had also poets and poets San Marcos adults and path. His language became more intense and fully felt the freedom of writing.

Then, together with Julio Polar, Mario Luna, José Carlos Rodriguez and Jorge Pimentel Jorge Najar, 68, in Villarreal, gave life to the group Zero Hour, designed to represent the new Peruvian poetry, and above all, to the best of Peruvian folk poetry. John wrote the manifesto signed their peers. John continued to write all the manifestos, giving life to draft a concrete poetry, then, was aware of everything that many people did not seem serious ...

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finally find a ratillo to catch up .... I've missed a couple of important dates, So I want to mention.

On 5 January, my blog turned one year old ! Blow out the candles (with some delay) all together, okay?

Another anniversary, on 16 .... The first operation of my eyes.
For now seem to go well, but I have to go to get a review to confirm me, so I will tell you.

And now for what matters, my clinic ..... After name search, take the project and plans , the next step was to have my picture company, a logo for my business cards, my sign on the door .... Well, I have it!

opinions .... I hope

The work (if all goes well and we reached an agreement with the mason in the budget) we hope to start in February, so there is nothing left! I promise to be posting photos, quiet, jajajajaja

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: WIND OF OBLIVION


Pictured: Manuel Marticorena

A collection of poems, wind oblivion (Iquitos, 1998), and an author, Manuel Marticorena Quintanilla (born in Arma-Huancavelica), suddenly opened the door to a different sensitivity to the poetry novel and Amazon. First, because the benchmark for the entire Andean poems is embedded in the heart of the Amazon rainforest. Which is important to note when you consider that most local writers have tried, from magic, folklore, indigenous coastal or imagery to express a feeling or an Amazon ID. Manuel Marticorena Andean insurja from the perspective seems to derive, rather, a literary criteria but not regional. It does not describe the rainforest. Do not try to theorize about the characters in the Amazonian man and his alleged criminality. And do not talk, in short, on this region which lies lavish and warm. But their feeling about the jungle is there, it beats other places describing emerges timidly with other faces and other names. Memory poetry or song of nostalgia. The truth is that Marticorena glance at the memory of friends, family and landscapes of Arma, his hometown. The cold air of the Andes is apparent from simple images. And the warmth that envelops everything. And the heartfelt pleas for justice. Behold common topics from a first reading. But if composition remember Armando Almeida time, we mentioned that Amazon opened for poetry another sensibility, another breath. Coastal and rural referents come, now, the universe farmer Marticorena, and come together in one voice, perhaps in one sense. Forget wind allows the continuity of this experience, which are not absent poets like Charles Fuller and Eleazar Huansi. Popular poetry, certainly. But beautiful poetry. Refer to realities but to express a feeling Andean Amazon may seem an awkward statement. However, beyond the platitudes and chauvinistic bets, it is not. Moreover if we find that the experiences that the poet is not interested in urban or tourist, but the marginal farmers and those in coastal, with whom lived many years before settling as a professor in Iquitos. Manuel Marticorena has been able to compare, differentiate and establish similarities and affinities. Poetry Andes into the jungle, why not? Or is nature poetry Andean Amazon. In any event, a poetry that combines the noblest sentiments of men with warm tenderness of the creative word.

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Magin Barcia: ORO VERDE


Green Gold (published in Iquitos in 1994) is a novel by Boria Magin Barcia, following the cycle of stories of adventure opened by Arturo Hernandez with Sangama , plunges us into the Amazon world through their most expensive, drugs, oil, gold mining, indigenous life and many love scenes. A novel that captures the reader from beginning to end, and rescues an important element in the novel: the disturbing fable, adventure, fiction joyful and exciting. Its protagonist is a descendant of rubber tapper whose engineering profession has not broken his adventurous race. Through their meetings and vigilantes, the protagonist reveals to us a world of unexpected contradictions, reality Loreto with its vices and weaknesses, their parties and desires, without abandoning the intense love for the Amazon land. The narrative language is functional and without ambition, but lends itself perfectly to the genre of adventure. And the narrative, done in third person, fleeing from a psychological exploration of characters and abundant, rather, easily recognizable clichés of Hollywood. But the novel, above all, entertaining. And their innovative landscapes for our literature are impressive. We therefore believe that the work of Magin Barcia deserves more than adequate attention to their efforts to make literature. And, hopefully, continue your unbridled imagination.

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Igor Calvo: POSADA NOT TAKE THIS THE WAY

Poetry written with the sincerity of passion. Igor Calvo , with his book the inn It does this road (published in Pucallpa in 1969) bursts of light in the swamp. Inhabitant of your time, streamlines your style with precise metaphors and open rate. His language was, to some extent, new to the letters Amazon, has also security dramatic style and a search of universal meaning. Therefore, it is free and burning: "Oh, that reminds hand glove / you lead my life this bitter gag / mute, and the dry riverbeds / no more / road, water is present, fire!". The accompanying questions to assert itself in the criticism. Oblique careful and pessimistic in his eyes, raises his decision in the last three poems. There is a tenderness that does not reach the shores of Peter the Castillo, and a narrative irony above all an accident. First and foremost an artist, Igor Calvo guard down to a more humane social poetry, but he dedicates his book " the heroic people of Vietnam and to Javier Heraud. Somewhat distant echoes of the poetry of the sixties, but not its formal clarity, that the environment itself stands out in Amazonia.

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Pedro del Castillo: NIGHT OF GUARD


Pictured: loretanos travelers in hammocks.

The 18 poems that make up the book Night Guard (published and Iquitos in 1970) are sufficient to locate Pedro del Castillo (Yurimaguas, 1930) in a trend literature outside the Amazon: the tenderness. Poetry clean adjectival rhetoric, his images emerge from the medical utensils and pain of the sick. But its sensitivity is not part of a guilt complex doctor who could explain this emotion, but a rather broad social corpus " misery has a name / and last name in the neighborhood " and "a good day / burst / while the minor / trace / dust on the dust . " His poem Diagnosis of homelessness is a dramatic testimony of understanding and solidarity with human suffering. Not everything is, either, overwhelming loneliness of individual suffering. The doctor poet understands and shares the ups and downs of its own affairs: "How I love / air / mixture of pus and chloroform!". And later: " Here I add / each antipode. / Here I feel life / as is. / Here I am to be! ." Every day is a death duel. Constant pain hardened soul, but poetry redeems. In the end, there is no salvation for anyone. Unlike César Vallejo, the pain is not part of the joy, but the history of the end. Del Castillo then ignores all tenderness, and knowledge of human suffering, rather than illuminate, the defeat. Suicide poem sums up his ultimate vision of the world: "And very late be when understand / that is nearing its final hour / man / incomprehensible / man is killing. "The social drama becomes personal. The die is cast and has been locked doors and windows. It's fate.

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Germain Lequerica: THE SEARCH Romulo Paredes


Pictured: Hermann Lequerica

"In search of sunrise / man is inevitably one hundred feet per hundred hands / and a star pinned to memory." With these words Lequerica Germain (Iquitos , 1932) begins his collection Search dawn and begins the modern poetry Amazon. Gone are the romantic verses, modernist and folklore of his predecessors. Lequerica opens fire cleanly: simple language, free style and popular perspective. Scorched by political passion far exceeds the beauty and conciseness of poetry Selva (1952), his earlier book, text, triple where they also meet Hidalgo Morey and Daniel Linares. Among the controversy in Lima faced social poets and poets pure, sustained commitment Lequerica tested for purity. Hence its transparent and musical symbols requires a higher sensitivity and a lively intelligence, while recording its limits in the hedonism that fertilizes the word but not subverted. The policy option Search dawn is clear and understandable. Its clarity is surprisingly simple: "The protest of man / when there is / has talons of a condor and rifles." The revolution will come from the field. However, no reference boundary between mere protest and revolutionary action. The output is sentimental, lyrical and subjective protest, will not rise on its conformist intellectual sensibility. Most poems denouncing the opportunism and the errors of the revolutionaries, and tested with a limpid poetic metaphors of the policy. The search for the dawn does not decay, but men. The star pinned memory involves will and necessity: the poetic praxis then merges with history, and poetry itself emerge beautiful and necessary.

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ALBA: SONG ON THEATRE REVIEWS


When in 1918 Romulo Paredes (Chicago 1877-1961) published the poem A Samarem , the excitement among readers was so great that, apart from the scandal broke out against judicial Nursing Care Process . The poem does not have the language strenuously fine or elegant style of modernism, but the strength and idealism of a romantic presence. Romulo Paredes It denounces the genocide against peasants and indigenous rubber tapper. And funny thing: called "hypocritical and stupid tribe / no morals and no conscience, only imitation / of superior peoples, evils and the clothes "to the power groups (merchants, clerics and military) governing Iquitos. differed also the treatment of indigenous people: then treated almost as animals, this time they are compatriots, heroic and honest. The anecdotal aspect only reinforces the political commitment of Paredes. Overcoming the illusions of the Indian Society gestated in Lima, and ahead of Mariategui, cut short the cares of Creole and strongly feudal power to proclaim that only an indigenous government (or from them) may build a large country. The distinction is not, however, racial or ethnic but class: the indigenous majority as part workers. Romulo Paredes was persecuted and threatened with death, and had to flee from Loreto. Was a judge, and as such alleged genocide (30 000 dead in less than 20 years) cauchero Julio C. Arana. For his part, like so many heroes and indigenous rebels, it was Samarem the Huambisas. His fight against the rubber and the priests was heroic, and the poem written in his memory has multiple meanings: a romantic style test and rebellious, testimony from an era of terror and heroism feudal farmer (between native and mestizo riverine), need power to a people oppressed, precursor of Amazonian Indians who had no followers in Loreto, and great courage to write the record straight, among others. The poem Samarem A song is a fraternal and unique. For honest and determined spirit, beyond the intentions mesocratic provincial and nearly all the poetry Amazon later. Neither Lequerica and Almeida, the clearest poets Amazon dared so much. Pablo Macera did it in one of his many and conflicting statements by saying that in Peru the power had to take the Indians. But Romulo Paredes brought a new sensibility and experienced a new aesthetic. Your intellectual vision exceeded his artistic intuition. For the Amazon, however, was a founder of social poetry and initiator of a proposal whose daring is still a encouragement and challenge.

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Virhuez Ricardo Villafane: Theater Reviews

Survey conducted by Alfonso Balbuena Lurin

Do I need to implement Theatre School of Management Specialties Theatre and Drama?

"Yes, because we need to strengthen Peruvian drama with new artists, as one learns in practice management or through workshops conducted by other directors, and dramatic readings and finally by comparison with current needs. Ideally, to stimulate the creation and thoroughness in directors and playwrights, is to provide a stronger background will undoubtedly contribute to the National Theatre, both traditional and experimental practices.

Do you consider a director ...?

-Self with training. How

which of the following proposals is attached ....?

"I think in my experience there have been dramatic encounters of various persuasions. For example, I made mounts within what might be called the theater of the body, collective creation, experimental theater, social themes, urban, university, group, outdoor, living room, they gave me a margin of experimentalism fascinating. And I've done in theater productions copyright and theater, of course. For all the above, I would say that I aspired to a full theater, looking for a functional language and mixed better, in new ways, the relationship between audience and actor. I'll never know if we succeed, but in any case was Tumueca group practice.

Do you think it necessary that in Peru there is a stream of Experimental Theatre?

-SI, because the theatrical experiments have been taken as natural by the theater group, and no room for the theater, to the point that identifies the theater of the experimental theater group. Teaching would be good even for Experimental Theatre para conocer las diversas variantes teatrales realizadas en todo el mundo, y que este tipo de teatro no se dé sólo de manera empírica sino que tenga sólidos basamentos históricos y académicos. El teatro experimental puede darse dentro del teatro de sala, lo que aún no ha sido asumido a plenitud por prejuicios poco profesionales que estancan cualquier desarrollo teatral fértil. Creo que el carácter experimental del teatro es una necesidad del mismo, que tiene alturas y descensos en determinadas épocas, por lo que jamás puede ser producto de una imposición o de modas.

¿Cree Ud. que la "Creación Colectiva" como propuesta metodológica para la elaboración de espectáculos teatrales is doomed to disappear ...?

"On the contrary, collective creation in Peru has shown that in the absence of a dramatic literary sufficiently large and well known is the best vehicle for theatrical productions, especially in the regions and institutions where it is difficult dedication exclusively to this activity, and is also ideal for theater groups in which creativity bonus stage of the participants. There are types of theater as peasants, urban, street, theater spontaneous, etc, in which the collective creation is essential, not to mention the theater unions and social groups or political situation, where the message is so important that it requires a special creation, that is collective, in line with the interests of the community. In short, the collective theater applications are broad and can not even dream of her disappearance. The situation of the theater in the provinces now, for example, shows the preeminence of the collective theater over any other kind of theater, and address the decline in activity of the Group Theatre in Lima apparently emerged as the dominant indoor theater and copyright, which gives the sense that the collective creative theater disappear. No doubt there have ups and downs, but I doubt that will disappear now. Does

called "Theatre of the Body" is antagonistically opposed to the "Theatre of text?

"No, and I think that shows Cuatrotablas or Barricada are the best proof. Moreover, the so-called theater of the body assumes the voice, speech, the text, with greater concern for its sound and musicality of what makes other types of theater. What happens is that the theater only assumes the speech text, and not the word, as a valuable representation. In any case, it is good to clarify that there is also a theater of the body completely outside the text, which promotes other "textures" or tissue media. Experimental theater is a very radical and very interesting. "According

your opinion, what is / are the main problems of Teatro Peruano?

"I think that all the options outlined part of the problem. What happens is that it's noticeable lack of interest of the State to develop the theater at the various levels of education (and not just theater, all the arts in general), and it is individuals who have taken practice shows many ups and downs and many problems. Ideally, the state promotion, it is true, as competing with private companies. Municipalities would also be a good choice. But believing in the theater of a private nature only lead us to an elitist vision of the theater, as happens now in many respects (except for some middle-class audience, no one else seen the shows of the room). This problem requires consensus for their first steps. Once the momentum of the promotion, each group should develop the theater in his own ideas freely, and there would be no justification for poor performances in their implementation.

What about the Teatro Peruano in general and Art Direction in particular?

"I think that despite the obvious downturn in the national theater production is well under way. As a staging Hamlet, despite the cultural importance of riding Shakespeare has no national significance if very few people see. Major assemblies efforts should go hand in hand with efforts to promote them in various parts of the country. In direction, I have always felt that in Peru there are many good managers, especially in the provinces. The trouble is that not everyone gets the same recognition or promotion itself. And many well-known theater directors and heavily promoted even in film and television, have, however, unfortunate events. However, the decline of the theatrical production in Peru has to do with the decline in the activity of the theater groups of collective creation. There are events that promote youth directors, it is true, but I still think a theater audience is a little effort with little reward. If the public is not going to the theater, you have to take theater to the public. That remains an inescapable truth for our country.

Lima, May 2001

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"The Journalist": A Novel Amazon


Amazon in the literature are few novels that deal with journalists and the social and political structure of Loreto. Among them we can mention "Pantoja and the Special" by Mario Vargas Llosa, who in a tangential way reflects the corruption that occurs in the media. But Ricardo Virhuez, with the novel "The journalist "(Lima, Arteidea, 1996), who bare the murky world surrounding the alleged" journalists "and regionalism discussed Loreto. Armed with a poetic prose, the narrator does not only social passionate plea, but also a beautiful novel, described by the poet Julio Nelson as "a perfect novel" and greeted favorably by national critics, what makes us envision a new novel in the Peruvian Amazon. (Manuel Mosquera Mugarra).

An Interview with Ricardo Virhuez.
By: Carlos Fuller

Why journalism as a subject?

"It's something that attracts me as a child. That is, the issue of freedom of expression. When I read the biographies of great writers and philosophers of past centuries and was 'seen' by the burning of their books and the persecution that they had to say against power, felt that they were heroic past and we never would live. But reality showed me otherwise. Not only by burning books as "The City and the Dogs" by Mario Vargas Llosa, but because a hundred copies of my first book published in 1992, "The fires of man", was seized by police in Huancayo and not I was allowed to presentation at the National Institute Culture or in college. Could I speak of freedom of expression? I still love this theme.

But you refer primarily to journalism Loreto.

"Yes, and it's a shame what happens in reality. What happens in the novel is a synthesis of a series of behaviors that we all know and are presented not to criticize sterile, but to delve into the issue, feeling it close and make a new behavior to mobilize the consciences honest. Do not forget that the narrator character in one of his outbursts reflexive calls for a critical generation to Iquitos.

Some say you wrote with some anger .

"Not true. Writing is an indescribable pleasure, which is enjoyed with intuitive awareness and love for the word. Wrote love of language, of my characters and their problems. What happened to them happened to me while writing. It is written with the soul, heart, yet the body. What happens is that some readers have "discovered" that one of my characters are very much a real person not exactly pleasant. What to do. Everyone has the right to interpret the novel to their taste.

Juliana When it appears, the narrator becomes a poet .

"Oh, Juliana ... Juliana is a beautiful woman and is also a trap. You've observed that there are basically two languages: the referral to the crime that is realistic and at times reflective and raw, and referred to Juliana, who is poetic. Well, the novel I have worked on the basis of contradictions. There is the secret of everything. A careful reader must not remain only in the literal statement, but must pay attention to the irony. The irony symbols amounts to many of the characters and their actions, and also desecrates, making them less solemn and one to make fun of them. Juliana is not just a woman. It is also a goal, a goal, a dream. So the narrator is never put to bed.

This is not your first novel .

"It's the seventh and last I wrote. And this is ironic, because more work novels were the first cost me, when you shake in terror at the blank page and is known inexperienced. Then you're letting go and the thing comes out with less trauma and more naturally. I do not want to say that writing is easy, but you feel more comfortable, more confident with the word, which is our friend, our wife, everything.

Any self about your novel?

-Mmm ... I think thoughtful style that appears in various moments of the novel stops the action, creating the false image of characters too Lucid, an appearance of didacticism that was never intentional.

And finally, what other literary plans?

-In writing, many plans. Publish, do not know. That depends on the publishers.

(Published in Iquitos, 1996).

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Maria Teresa Zuniga: HEART OF WOMEN


many years ago had not seen. Then, when he staged his work Heart of Fire, many knew that we were dealing with an amazing playwright. The poetic power of his dialogues, the dramatic and sudden irony of his characters, and the versatility and dynamism of their games time and place, and what we promised.

spent the time and distance made their beads of forgetting and remembering. But Maria Teresa Zúñiga, who had studied sociology at the University Center to dedicate the theater with the delivery of creative passion, made the master key word in the theater. It was the late eighties and early nineties. But then, the Peruvian theater was still suffering, as now, the lack of playwrights able to face reality to understand it, seduce or subvert it. So María Teresa Zúñiga, with teammate Jorge Miranda Silva, made the group home expression of art and its own laboratory.

This time we traveled by train to Huancayo to Julio Villanueva. Upon arrival, we entered a restaurant and ask trout. Amid the joy, a sudden explosion, and then others, we suddenly plunged into the night. Those were the times of war and several police stations had been dynamited. But the same: in art as in life, continued to function. A theater shows encouraged us to see the works Huanuco to Huancayo and then represented, and there was Maria Teresa, dressed to show their words and lives of others. Heart of Fire highlighted the swirl of people huanca, contradictions and dignity despite the vagaries of time. It was beautiful hear the words on stage, feeling full of hope metaphors, images that touch these gently fingered the rebellion of the poor. At night, we went home. Rocío Julio Villanueva Marinovich and heard her talk about their experiences and challenges. Yes, he said, had decided to pursue Jorge Miranda theater, that they act and even her infant son also act. It was the decision of his life.

Almost ten years later go back to Huancayo. Jorge Luis Roncal we visited the Andean school where he works. Manuel Baquerizo, literary critic and restless cultural promoter, we had talked about his fucking disease, its work painful, desperate creations against time. Yes, doctors had already given up, because the bone cancer and its consequences are deadly.

She greets us with a smile on his lips. His eyes shine. He's young and their cheeks red serrano heat. Do you remember me?, I say. But then, laugh. We hugged, and then turn to talk and remember the friends, theater, irrepressible life that is overwhelming. "But

Heart of Fire was not always understood, says Maria Teresa. The theater people told me it was a work for intellectuals, and they did not understand. But notice that we put on stage in the little communities and districts, and local people enjoyed the work itself. It was also the most requested. We put 333 times, a record that works and many would like to have.

almost no pause, because she speaks with enthusiasm and energy. Envy had also beaten, as everyone. And the strange friendship of friends, too.

"I do not understand the zeal of some artists. Many spoke plagues me. And when I dropped the disease, no one came to see me, ask me. Feliciano Mejia, when I was sad and listless, he said, if you want to die, die. Sure, I understood his message of resistance, to move forward, however. Very few friends remembered that I existed. When I was in bed, only my friend George gave me the strength to endure. If I even write Mades-Medus for my husband and son to represent him, as a testament. Fortunately, herbal medicine saved me. I'm better now. And keep writing.

Expression In also acts Jorge Miranda Zúñiga, eldest son of the couple. And Maria Teresa remembers when, as a child, he went to theater of the hand of his grandmother. And without meaning, without knowing and as played, admired the magic of lights and tables and the audience spellbound, declared:

"Grandma, I'm going to marry him, and said the actor, Jorge Miranda, whom fate or life or chance or luck really became her life partner.

His works are staged the drama groups from various schools and colleges in the center. All-over 30 - have been represented, although very few have been published. Manuel Baquerizo advised to take care of copyright, and she thinks that at least modestly are spreading. For example, once went to Arequipa and there were a part thereof, with entrances and large audience. But received no compensation. And in a Lima magazine promised to pay for the publication of one of his works. But it was the same. Not paid and received only a copy of the magazine.

with cancer at his heels, Chicho Durant called for filming Mother Courage, which represented the character Pauline, the enemy. Cuban cameraman was fond of her and offered her a job in Los Angeles. But could not. Or would not. Preferred to stay in Huancayo to face the disease and continue to write pieces for the theater. Won awards and received accolades from universities and public and private. He traveled to Venezuela, Bolivia, Denmark. His works were admired and loved.

"But I've stayed in Huancayo for subsistence. I have decided do theater here to show that not only produce good art Lima, but also in provinces, and of very good quality.

Suddenly, the look, and she comes out with an apology on his lips. I took some pictures, but I get the recorder to justify the confidence to memory. Store?, I ask Jorge Roncal, and he says maybe not, not to form barriers, because Maria Teresa is spontaneously releasing images of their memory alive.

"There are artists who are as old," she continued, feeling tired, bored. Some friends do not know what to do with his political ideals. Not only are traitors to the ideas. Also there are traitors themselves.

We take the issue and asked how she has taken her own political commitment. She looks strong, safe, rare synthesis of conviction and creativity.

"I've been a member, I have ideas and commitment to my people. If many have been betrayed, that's their problem. Have not been consistent or had principles. I do, I have principles. And if no one could speak of the same ideas of Marx, yes you can argue about the conditions that gave rise to a Marx. Many thought I was subversive theater, and even spoke to me like a subversive. I had to raise the distance, and show that my work was critical, but creative. Posed the problem, and let the problem exploded into the consciousness of viewers. There was no happy ending. So once the Alcazar Salazar said, "I fucked up, Maria Teresa, I fucked up." Why? Simply because he argued that the popular and provincial theater was pure pamphlet. And no, then.

His sincerity disarms us. Several of his works will be published by a German foundation to support children. And is that Maria Teresa has focused its attention on children. For them make plays, rehearse with them and they have set, in Huancayo and around half a dozen of his plays. Not many but will suffice those who spend more forward to the theater. So Maria Teresa continues. His gaze so tender appears to break with the excitement of memory.

Mades-Medus premiered at the National Theatre Festival organized by the Peruvian American Cultural Institute in 1999, where it opened in October of that year, and in Huancayo this year. In this play, two characters, Mades and Medusa, and a young adult, prepare to welcome the audience. Meanwhile, immersed in a dialogue that is an existential turmoil of the human condition. "Did you know that when a man is confused right and wrong," asks Mades. The sentences are sharp and ironic at the same time. A playful atmosphere ago Medusa said: "And you suffer from any damage?". And Mades says: "Apart from hunger, only constipation." There is a pessimistic view shore of loneliness and a sense of finishing. There is no rational logic in the talks because the company has resigned itself to be rational. And that feeling of being in a different world while we wait for the other, the public, that never arrive, no more intimate opaque hope: "If I die, the dreams continue, dreams were never owned one, dreams are collective, "says Medusa, the young man, who finally dies in silence and amazement of his companion. "You were born in a boat paper with premature wrinkles, "he said Mades. And he concludes:" Never were the protagonists of any history, our art and our lives are for those who have not yet arrived, those who are just going to be born in their colorful boats, those who born in a premeditated fashion, those who collect our thin corneas and swell our souls. "

If we consider that this work was a kind of testament ahead of Maria Theresa, see in it a sense of misunderstanding and loneliness, however, finds its channel in the hope of others, the group that opens our eyes to the solidarity and affection. Mades-Medus is a celebration of hope, but also registration of pain and a struggle that still burns us with his words broken and convincing logic. But Teresa is back on the sand, standing with his heart in his hands, submerged or raised on that extraordinary passion called theater, also known as literature.

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Simplicissimus: Baroque Genius


more than three centuries ago (in 1668) the son of a baker, Hans Jacob Christoffel von Grimmelshausen, published in Germany the most important novel of seventeenth-century German Baroque: "The Adventurous Simplicissimus: the narrative of the life of a curious wanderer nicknamed Melchior von Fuchshaim Sternfels, where and how so came into this world, what we saw, learned, lived and suffered, and also how he voluntarily resigned. Extremely funny and very helpful to read. "

What is extraordinary about this novel, which once published its success was immediate and devastating and reprinted hundreds of times, and caused extensive grassroots fervor, and then, too, the likes of Heine, the brothers Grimm, Lessing, Leibniz, Goethe, Thomas Mann (inspired her while writing "Doctor Faustus"), Brecht (who based his "Mother Courage" in the original - Courasche "of Grimmelshausen) Enzenshberger, Guimaraes Rosa? To critics it is not easy to locate. He calls the author Grimmelshausen atypical of the German Baroque, because his novel, part of the picaresque genre, uplifting, moral, religious, beautiful, educational, etc., Ahead of polyphony vajtiniana and establishes itself just such atypical works older literature.

Grimmelshausen's life has gaps and points of interest. Born near Frankfurt in 1622, within Protestantism, and died in 1676 as a Catholic. It should be emphasized religious militancy because she, in the feudal world then, was the spark ideological (not political) of the famous War Thirty Years (1618-1648) between Catholics and Protestants.

lives of soldiers and fittings, their city is destroyed, is imprisoned, becomes a soldier, was home at the end of the war and then made official. It grows in the war, education in life. His only instruction appears to be the primary studies, and generally is self-taught. His biography is unbecoming of a writer. However, with so little time, full of work, published over twenty books in less than ten years.

Of all his works remains only one with his contagious vitality and popular Baroque: Simplicissimus. It vibrates the European war, but has no nothing to do with heroism or glory. On the contrary: the war is seen in all its horrors, crimes and atrocities. "The glorious deeds of heroes would be much to praise if they had not gotten to the sinking and damage of other men," says the author.

The hero of the novel, because of its simplicity and simplicity, is called Simplicius by a hermit who has collected after the pillage of the soldiers. Learn to read and write, and once lost his protector, a governor serves it stupid fool. Then, after intensive vicissitudes flee during the war is a soldier, thief, highwayman, and all soldiers in general. Under the principle that "war itself is held, farmers must bear all the indignities and exploitation. Naive and childish, Simplicius is transformed into the fearsome hunter Soest, given all the debauchery and crime.

His fate are erratic. Married, he travels to Paris and holds amorous fun. Falls from grace, escapes, becomes a healer, Musketeer, lurker, and finally, after a pilgrimage to an old friend, he settled in the Black Forest, where he met his noble birth and remarries. He traveled to Moscow and then to the bottom of lakes, talk with loved submarines and one of them, anticipating a topic Marxist, says he "did not have a king justice dictate them or to force them to be served, but that will lead them in their businesses and enterprises. " Simplicius returns home and becomes a hermit.

This argument, as tight as arbitrary, depicts the adventures of Simplicius Simplicissimus (later renamed view Sternsfels Melchior von Fuchshaim) and all the vicissitudes of war. Do not forget that at the end of this Germany had lost half of its population, whole areas were destroyed and the country's economy was in ruins. The implications of the novel, and his performances are varied and complex.

But one stands out clearly and heel serves as background to fully understand the continuing vitality of the work. This is your starting point. There's a song in the novel says "Oh, despised peasantry, / are you the best thing on earth! / No man ever leaves compliment / in fixed their attention on you."

Indeed, Grimmelshausen is a popular author, raised and educated in the people and for the people. Is the enemy of intellectuals that mimic exotic fashion and courtly manners. Only he, and few others, derive their literary characters of the people and not the court or the city, they are rather anti-heroes who never attended schools, universities and classrooms. His language is also popular, as live so close to Hans Magnus Enzensberger believes that "no precedent in the tradition is freshly minted and has kept its luster intact ... If you listen, you almost can not believe that is the same age as the palace Versailles ... "

Grimmelshausen copied the language of the people and their stylistic forms, and implemented numerous dialects that dominated German fluently.

This starting point is what also sets the stage for the works of Homer, Boccaccio, Rabelais, Shackespeare (which was torn between the classical literature, and modern popular among a small audience.) Despite his self-taught writer position, Grimmelshausen its novel structure based on Aristotelian principles. His comparison can not be other than El Quijote ... with which begins the great literature of their countries of origin. The Simplicissimus in Germany, marks the beginning of the modern novel, the rise of German picaresque and unquestionable triumph of popular art.

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HUNDRED YEARS OF SOLITUDE: History and fervor of a novel


early 1965 Gabriel García Márquez was in a bad mood. Had stated several times that he would never write and that apathy, boredom that seemed to crush infertility and uncompromising. But he had not resigned, indeed, literature. Had renounced his previous creations (which critics praised with regular insistence) as a correction, or, to put it more bluntly, as a necessary step for renewal.

Her previous works ( Dog Eyes Blue, Leaf Storm, The Colonel No One Writes, The Big Mama's Funeral, In Evil Hour ) made it an important storyteller in Colombian literature, but García Márquez was dissatisfied with himself, with his stories and the criticism that persistently tortured him with praise. He was dissatisfied with the air testimonial or objectivist prose. The style owed much to the realist tradition and this concentrated almost all traces of their concerns. García Márquez

saw and felt the world at its most contradictory. The realism of intellectuals actually reduced the schematic instances and impoverished. Of what is swallowed, then, was to find a literary form capable of expressing in their smell, their fantasies, their sensuality and richness adversarial most unexpected moments (and capricious, and arbitrary) of reality. Not just simply describe everyday life and dreams and images that it produces, but also to provide them (with words, to novels) of that magical ability to communicate the landscape and life with the same intensity and astonishing that we are assaulted constantly.

But he felt trapped by not only literary work which was to be delivered to survive. Editor's worked in advertising and screenwriter, and, of course, paid his prose to the requirements of the company. But one day he suddenly resolved all their problems (at least in the head). Was driving his car for a Mexican road and imagination found its mark, had before it the entire novel, populated by supernatural characters and anecdotes.

If Franz Kafka had described the most absurd situations of man-factly and detail, he, García Márquez, narrated the natural wonders of the tropics with baroque, sensual, full of vitality and festive contagious. At home

was then a place called "The Cave of the Mafia," which was a kind of interior house with bathroom and even a garden. Before shut for many days and nights to write his novel, agreed with his wife Mercedes, she did not interrupt at all, even for most domestic affairs of the household (including payments for water, light or food). Then he bolted to write.

must have been fun for your kids to see out of hiding, at night, exhausted from the days of work in front of the typewriter and cigarettes entirely intoxicated. And what have lasted six months, as calculated by the author, lasted eighteen months of full commitment and dedicated to the novel. Ernesto Schoó account both García Márquez and his wife Mercedes were found at the end with two separate papers in his hands: he, with "One Hundred Years of Solitude", and she, with unpaid bills amounting to ten thousand dollars.

Without much enthusiasm, but with the satisfaction of having completed the novel that was chasing him since adolescence, García Márquez released excerpts from "One Hundred Years of loneliness "that were published in various journals, while at the same time, prepared to work for years as a galley slave to pay the debt incurred by his wife.

"One Hundred Years of Solitude" was published in June 1967 and its author received with surprise and disbelief, the immediate success that occurs between the audience and critics. Editions follow one another with astonishing rapidity and with them the translations. In just three and a half are sold nearly half a million copies, and the novel is translated, within months of publication, English, French, Italian, German, Swedish, Polish, Romanian, Japanese, Hungarian, etc. And they are reissued and translated, too, his previous productions. García Márquez

suddenly reached celebrity and money. "One Hundred Years of Solitude" is praised in multiple and contradictory meanings, while the attitude becomes famous anecdotal, full of humor and wit, García Márquez in front of reporters. The critical aspects founders celebrated in the novel, and it becomes commonplace to refer to the real-wonderful and magical worlds Americans. It applauds the sensuality of his language, the motley characters and events of the rescue, with literary master, the fantastical worlds of the Colombian tropics, without exception, therefore, the implicit report prepared by the author of the injustices, corruption and crimes against the people authorities.

has been much discussion about what really wonderful, and today there are obvious signs of exhaustion and even perhaps anachronistic. The most serious argument against such literary magic, such as tenure and ideological worldview, it seems that, in recognizing the existence of fantasies, myths, illusions and wonders, states that these are isolated moments and scanty (religious festivals, dates cotumbristas) in popular life, because man is concerned about how realistic activities such as eating, work, childbearing, sweat blood and solve small and everyday problems immediately. Thus presented, this situation is beyond reproach. But García Márquez resolve this issue literary and ideological links to the magical dimensions of everyday life, and all events unreal, fantastic realism instinctive seem more elaborate. The result is a stunning novel in which, although more ambitious rational interpretations, despite the critical intent of 'order' that 'mess', survived almost total communication, where they assaulted our senses and enjoyment is then pleasantly carnal, vibrant and 'real' in the same way 'real' our senses to accept it (as a convention necessary) all the fantasy works of Homer, Cervantes and Grimmelshausen.

At this point, after many years that have elapsed since the first edition of "One Hundred Years of Solitude", we wonder what is left of that fervor by the incredible magic of the novel, with the exception, as noted above, the enjoyment and surprise sensual baroque reading.

Any answer to this question (arbitrary, no doubt) must take into account two essential aspects: the social changes that have occurred in Colombia and around the world (which perhaps affect worldviews, the poetic, the conflicting interests and the very life of the author), and new contributions of the contemporary novel with their successes, progress and definitions, among which, for example, "The great outback: paths" by Joao Guimaraes Rosa (still insufficiently known and studied), "The War of the End of the World" Vargas Llosa, and "the violence of time" by Miguel Gutierrez.

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"I'm not blind to the merit of the wonderful gift of Leaves of Grass . I think the most extraordinary product of wit and wisdom that has given so far the United States, "Emerson writes in a letter to Whitman after he edited for the first time in 1855, at age 36, his great poems. Leaves of Grass but not a single birth. Whitman writes and edits and increases as the age of 73, in his deathbed, reviews evidence of the last and eighth edition you do in life.

This progressive writing experience of a single book of poems is not unique to Whitman. The flowers of evil is also the only book of Baudelaire, and reality and desire is what Cernuda. But achievements are necessarily disparate and distant. In Whitman survives the adventurous spirit that made America a nation complex and arrogant, and it is this contradiction which invariably characterizes the poet. It Whitman sing many, many men who have no voice and are expressed through his powerful word. Interestingly

innovative poetry all suffer the rudeness of any established intelligentsia. Whitman is accused of all immoralities that his critics could have imagined. Emerson only warns the huge leap in American poetry, the incredible flight achieved by the U.S. literature in the second half of last century. Whitman did not shrink from criticism. Without false modesty is aware of his genius and move on. Going door to door selling his poetry books. Try publishing and journalism, but fails.

His poems are breath away. It burns the vitality that does not gel in narrow ways. Therefore has trouble finding the right language. His doubts are not really the verse in rhyme or free verse, but the one that best reflects and expresses life itself, the everyday, common talk. Evidence of this struggle visceral writes: "Sometimes I think my blades are only a language experiment." That is, an experiment to find a more humane and proper expression.

Whitman was not, fortunately, an intellectual. Spontaneous vitality gives epic poems and lyrical intensity not previously achieved in American poetry. Some critics believe that many of his poems corrected or modified ("thought") are lower than the original. Intellectualization of a poem after the poet's personality undermines vital.

Whitman sings to everyone and everything. The world and its creatures animate and inanimate reborn in his word. He speaks with and for each of the parts of the universe. His spirit all-embracing, oceanic, universal share the global focus of César Vallejo or Baudelaire. Name as many things to accuse him of coleccionsita of places and names and nothing in exchange for poetry. Whitman is helpless to criticism and moral myopia. Sing to the body and all its pleasures, the man and woman, heaven and hell. And in this comprehensive effort, of course, contradicts himself, because his poetry is not a simple statement logical: "What I contradict myself? / Well, I contradict myself." By singing to sex, according to critics, is immoral, for singing to the man is homosexual, by singing to leisure and idleness, is a parasite, etc. Whitman's covers everyone. However, his life is not so great and adventurous as his poetic sensibility.

Emerson says that "his language is a mixture of Bhagavat-Geeta and the New York Herald." A mixture of literary and spoken language of the street. A retrospective study in the pathways. Whitman tells us about his lectures and tours: "I used to go sometimes an entire week, the countryside or the coast of Long Island, where, under the influence the outdoors, reading from beginning to end the Old and New Testaments, and absorbed (probably to better advantage than in any library or closed room, creates so much difference where you read) to Shakespeare, Ossian, the best versions I could get Homer, Aeschylus, Sophocles, the old German Nibelungen, the ancient Hindu poems and some masterpieces, including those of Dante. " The books and nature, culture and life are the elements of their creative center. Whitman

not a classic in the sense funeral and mystified that gives this word. Whitman is contradictory as life, and it remains alive in the consciousness that like him, know that poetry is part of the best of our lives. No grid poetry, not poetry formalized in rhythms and images sweetened by the intelligentsia. Neither the sickly to and end with subjectivism and verbal games. Instead, like Whitman, like Vallejo, poetry huge, tumultuous, ripped clean of mercenaries, the street poetry of the heroic people who sing through their poets and creates a new word, multiple sense, singing to itself joyous hopes.

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Whitman Leaves "The Antichrist" by Nietzsche and fascism inevitable


Antichrist is within the third and final phase of the philosophy of Nietzsche, which opened Thus Spoke Zarathustra by and finished with Ecce homo. At this stage, says the style and thought of this strong German thinker, and clearly outline their thematic pillars constant: the death of God, the will to power, the eternal return and Superman, and, within them, a profound contempt and opposition to the masses, crowds, great people, they reveal from their own synthesis formulation of bourgeois thought in a higher stage of social development.

In Antichrist Nietzsche expresses this time, not only the death of God, and previous research with irrefutable force, but also the character alienating, negative and corrupt Christianity along its black history. For him the Christian idea of \u200b\u200bGod is one of the most corrupt concepts that have been invented to define the divinity, and notes that "perhaps even represent the lowest level in the downward trend of such gods. God degenerated to be the contradiction of life, instead of being its transfiguration and eternal yes! In God declared hostility to life, nature, the will to live! God, all slander formula 'here and now', all lie 'beyond'! In God, the nothingness deified, the will to nothingness canonized ...! ".

Esta forma pertinaz y agresiva atraviesa toda la obra, donde el pensador del martillo que es Nietzsche no se detiene para nada ante los tópicos más caros del cristianismo. Su lenguaje es injurioso, violento, burlón y certero. Nada del cristianismo –de esa “moral de esclavos”– queda en pie. Incluso sus conceptos de mayor peso, como la propia idea de Dios, de Cristo y de la actitud correcta del creyente quedan derribados por la puntería imbatible del filósofo.

Lo que más reprocha Nietzsche al cristianismo es esa mansedumbre decadente que va contra el hombre, contra la vida. Afirma que la forma máxima de autoenvilecimiento del hombre es el concepto cristiano del pecado. El mismo cristianismo and, for him, the greatest of all imaginable corruptions, because it poisons life through the idea of \u200b\u200bsin. Compare to Christianity as a state of "parasitism" because it feeds on poverty moments of the human soul. He added: "This eternal accusation against Christianity I shall write on all walls, wherever there are walls, I have lyrics that make even the blind see ... I call Christianity the one great curse, the only major intimísima corruption, the only great instinct for revenge for which no means is quite poisonous, stealthy, subterranean, small, I call the one immortal blemish dishonorable of humanity ... "

At this point we must ask, however, what is the real target of attacks by Nietzsche. It faces to Christianity because of its usefulness brutalizing, or its idealism and moral coercion servile apparatus run by the ruling classes, nor by the mass of falsehoods and lies that leads to the terror of the humble and ruthless exploitation, is facing mainly for daring to promote equality between men, without distinction or privileges. "Discovery of God: in fact, only the moral God is refuted," he says.

Christian claim against the latter actually lines up all his artillery. Odia al cristianismo con odio utilitario; es decir, sólo en la medida en que se ha opuesto a las “diferencias naturales” que existen entre una minoría selecta y la gran mayoría. Así escribe: “Una cultura superior sólo puede surgir allí donde haya dos castas distintas en el seno de la sociedad: la de los trabajadores y la de los ociosos, capacitados para disfrutar verdaderamente de su ocio; o, para decirlo con palabras más fuertes, la casta del trabajo forzado y la del trabajo libre.”

Es que Nietzsch es, en el fondo, como todo gran filósofo, un pensador de su época, que supo reflejar parte simportantes del pensamiento burgués que iban en aumento gracias a las condiciones social that made them necessary. This was none other than the spread of capitalism, with all its forces in the imperialist stage and all its proxy wars that came with it.

But Nietzsche's uniqueness lies in covering the vast cultural mosaic that was holding the capitalist development, and conflict of this with their material conditions. Nietzsche could see that the capitalist system could not survive without war, genocide and global operations, but sublimated these needs with its aristocratic theory of Superman, it would no longer feudal ruling class, aging and outdated, but the lineage of intelligence bourgeois marked by the fire of war and the will to power. From there it was easy acceptance among the Nazis and is considered one of the thinkers who influenced the ideological development of fascism.

Superman would be the replacement concrete embodiment of the idea of \u200b\u200bgod. The cry of "God is dead" also implies that God, the Jewish establishment that represents the anti-human Christ, what antivital, and destroys all true hierarchy by equality of souls before him, is finally overcome by will alone dominating . And the real example of what Superman is nothing less than the Bismark, but certainly criticized on the grounds that its policy was not sufficiently imperialist and reactionary.

So clearly, writes Nietzsche in The Antichrist : "Who are those who hate most among the rabble of today? The socialist rabble, Chandala apostles, who undermine the instinct, the joy, the feeling of fullness of the worker, that make you envious that you inculcate revenge ... The injustice lies not in never unequal rights but the claim of equal rights ... "And he adds, to round out his warrior spirit:" The maintenance of the military state is the latest and greatest action to take or maintain the great tradition, overlooking the superior type of man, the type of strong man. "

Although at this point we have shown that anti-Christian ideological conception is but a vague and poetic form of his reactionary political views, some people, however, believe that Nietzsche was able to overcome the deep alienation of Christianity for his own human will . But really the existence of this and other phenomena of capitalism, where the realigión obnubila consciences with superstitions and myths, like postmodernism or neo-eminently irrational essence, can be overcome only when the reasons for the material conditions that make them possible; ie, they are eliminated exploitation, class struggle, individualism sickly private ownership of the means of production, etc. And this is certainly not a task bourgeois, but that it has to be eliminated.

Nietzsche was not the ideologue of fascism, but made the first great stone for its construction. It was Rosenberg, with the help "critique" of Heidegger, a Jaspers, among others that the Nazi experience then washed their hands. But the bourgeoisie could not give any way to fascism, by contrast, has become more bloody and genocidal in the Hitler era, it has more fiendishly subtle and hypocritical to the point that under their leadership, humanity has been degraded to levels never achieved during his year history. Basten as examples the U.S. crimes in almost every country in the world, and widespread corruption in the minds of generations, or, in Peru this fascism has meant that our country ranks first in the world political detainees and missing persons, and the dead at our last civil war outnumber those born during the war with Chile in the last century, and, finally, that much of the population is in a state of absolute misery while a parasitic minority enjoys the benefits of this exploitation. There is no shortage, of course, intellectuals mercenaries, cunning, which grant a salary or justify the unjustifiable and generally accuse any popular movement to be fanatical, fundamentalist, sectarian, dogmatic, and so on., ie the deployment of the poor intelligence fascist.

not another, as a backdrop, Nietzsche primal position in Antichrist and his other philosophical works. Lukács saw this clearly and wrote that Antichrist supplements supplied intrinsic, ethical, social and historical development necessary for this lyrical, full of hate, Nietzsche's last period. That she is the author of ridicule and destruction everywhere, discursively, the idea of \u200b\u200bequality among men, is well known and need not be documented through special events, because, in fact, the central idea of \u200b\u200bhis career as a writer. (...) Does not reject Nietzsche never equal, of course, for ethical reasons of a general, but his attitude is a response to its position on democracy, revolution and socialism, which are, according to the Nietzschean conception, necessary fruits the domination of Christianity. (...). Therefore, when Nietzsche presents himself as the Antichrist, what really sucks is to destroy socialism. "