Marginalia Nº 8 - November 2005
DIFFUSION BODY OF THE IBEROAMERICA ACADEMY OF POETRY,
CUENCA, UNIVERSITY CITY
ATHENS OF ECUADOR
CULTURAL HERITAGE OF HUMANITY
Interview
Vice-rector of the University of Azuay
Ing. Salgado has a Master in Development Anthropology (Universidad del Azuay, Cuenca - Ecuador) and a Master of Computer Science (Indiana - USA, Fulbright Scholar). He has been the representative of Ecuador to the INFOLAC - UNESCO Program for the Information Society in Latin America and the Caribbean (1997 to 2002) and Member of the Executive Council of INFOLAC - UNESCO (1999 to 2002). He is accredited in the List of Professionals of the Information Society of Latin America and the Caribbean.
We transcribe, below, this brief interview:
* MARGINALIA: What is poetry for you?
FSA: Poetry is the highest manifestation of the word, and the word encourages the spirit.
* MARGINALIA: To poetry, as to the humanities in general, what importance is assigned to it in promoting the integral development of people?
FSA: The humanities represent the best that our species has thought of in every age. They confront us with the greatest personalities in history and their work, and give us light to learn to think. After several stumbles that occurred when separating the disciplines, when separating science and the humanities, we are returning to the sources that integrate knowledge, ethics and aesthetics. In a world in which the central issues have turned to respect for life, for interculturality, for relationships between people, the humanities are the cornerstone on which we must grow.
* MARGINALIA: Do you think that poetry should be compromised?
FSA: That is an option that may or may not be chosen. The expression of the beautiful and the good admits several currents, the central thing is in the richness that touches the depth of the reader and marks her life forever.
• MARGINALIA: What is your opinion about the literary workshops?
FSA: Tasting good food, tasting good wine, are enhanced with the knowledge of the cultural symbols that they represent. Likewise, the taste for poetry and literature in general increases when we share with other human beings how certain works have impacted us. For me that is the central task of literary workshops. Obviously, some of its members may also start their own path of search and creation. Universities must stimulate their training and persistence.
• MARGINALIA: Thank you very much for your words and your time.
Cuenca poetry
BAlADA IN FOUR TIMES
1
It will be enough for me, Lady, to love you,
in my dwelling with me have you,
a soft bed to calm you
and a caterpillar of fire to see you. P. 86
Give me the foam of clear eyes,
the snow of haughty breasts
that I will have my song to get you drunk
and the honey night to conquer you.
I have to wait for them with the star in suspense
For a perpetual love and a joy
of a sweet bonfire and a calm heart.
And we have to enter the shadowy silence
when we collect ourselves with stealth
to die together in the same joy.
2
It will never be worth the trouble to forget you,
Lady, this nostalgia to tell you
that I am shadowed by loving you
and I fear with my shadows to afflict you.
The earthly joy of caressing you
and in shackles of the scent unciros,
in mist it mutated to cry for you
with a celestial swarm of sighs.
In what slight spiky thalamus,
Ma'am, a short flash time
made and broke the polished foam.
of your slightly textured body
that has brought me to memory in haze
all the glare of a snow bird.
3
I finally arrived, Madam, to dismay you
because my love did not know how to hold you back
and the breeze was stronger when you turned off
that the heart urged in kindling.
To what embers of smell should I join you
ash nap I have to know you
and in the dying night I have to ignore you
by the unknown luck of the stars
If a luminous dove flight
you have traced in my pure longing,
pamper me in sleep, cautious,
that I take off your clothes
and in its langores the secret rose
I clutch myself with the nacre of its sapwood.
4
What a demise of all transparency
the sidereal mourning of presentiros
in the hazy sky of absence
a dove of light turns,
lightened already without my love,
nor loving hands to anoint you,
nor verses to speak to you in cadence,
nor tunics of light to dress you.
In what remote time of agony
we move away from the shadowy silence
in which the beloved love did not know
that by the law of the complaining angel,
lasted as long as the foam the ambrosia,
to die together in the same joy.
Gonzalo Escudero (1903 - 1971)
Universal poetry
GUEST COUNTRY: SPAIN
SCHOOL YARD
I say verses so as not to cry them,
and people pass without looking at me.
Rescue my voice the old cistern
of memories clumsy by the absence,
and people pass without looking at me.
I ask for a single minute
to History, and she denies it to me,
neither Unamuno nor Fray Luis come,
Or an old blanket or a hug
nor the people who flee without looking at me.
Next to a wall
that moss and cheers bear
my guitar calls stubbornly.
And people pass without looking at me.
THE RUN
To Rafael Morales, teacher
They have reached the end of their journey.
In the sand, alone, man and bull
-Oh men of Cretense, Iberian and Moorish-
they pawn, face to face, their statue.
Proud, composed the figure,
the teacher and his sword, in front of the choir.
Jump the brutal jet and stain the gold.
The drama ends, the torture arrives.
Do not excuse this death for an art
where the currency law prevails!
The bull swallows his blood, he is afraid,
cannot understand. And finally part
to the heaven of bulls. Just left
his bloody footprint on the ring.
Juan Ruiz de Torres
Guest poet
GONZALO ESCUDERO (Quito, 1903 - 1971)
PERFECTION IN SHAPE. HERMETISM AND TRANSCENDENCE
Gonzalo Escudero is undoubtedly one of the leading poets of the Ecuadorian lyric. University professor, journalist and diplomat; he was ambassador to France and Peru, and a member of the OAS.
His poetic production is marked by great formal perfection. Highly inspired and sustained, his works tend towards the transcendental and the metaphysical. They recreate the grandiose presence of America, of the city, of an enigmatic feminine "you" (one of the greatest hermetic keys of his poetry); the intuition of divinity.
In the words of the critic Hernán Rodríguez Castelo: “In two we can summarize the characteristic features of Escudero's poetry: the one, that formal fullness, balance of luminous metaphorical play and admirable musicalization. Inside that formal plenitude is the other trait: a very rich, coherent and deep, although subtle, although demure in paradoxes and verbal games, although hermetic, conceptual content. "
His best-known books are: Late Night, Statue of Air, Matter of the Angel, Self-Portrait, Introduction to Death, Requiem for Light ...
FOAM WRITING
So that my embers are consumed
more and more in the light ash,
the wind has clothed itself with the mist
and the burnished night with the snow.
What I have written I wrote in the foam
and its brief transparency lasted me
what the lark, the song and the feather,
that oblivion to the air takes it away.
My music buried in the air
the celestial bird that names her
will perish with me at my mercy,
and the duel of the star that is hidden
it has to infuse me with this deadly heartlessness
for the shadow admiralty
Reviews
WHEN WALKING
NATIONAL POETRY AWARD "JORGE CARRERA ANDRADE"
Sara Vanegas Covena
Quito, Librea, 2004
"Maker of her own mirage", the lyrical voice of Al Andar / ... / moves sober, tall, splendid - like the sword of an archangel - both through the burning waters of the nocturnal deserts, as well as over those liquid fires of which the seemingly calm seas are constituted / ... / But behind that verbal pulse that delineates the contours of successful metaphorical syntheses lies a whole tradition of classical sign, a radical inclination towards a referentiality of millenary flavor, in which elements of ancestry visibly alternate Hellenic with signs from eastern civilizations: "broken hair", "old walls", "ancient winds", "sun of dunes and mirages" are just some of the many references that, with selective measure, roll through the mirroring labyrinth of this poetry that feeds on its own reflections.
Another feature of emphatic weight in Al Andar is, precisely, the one that is related to the idea of a perpetual bustle of the lyrical voice heading for indefinite directions. In more than a few textual spaces, Vanégas prints a motor character - sometimes slow, almost immobile; sometimes spirited, almost accelerated - to certain references that fulfill the function of simply moving forward and moving forward, be it on "the timeless heart of the desert" or "on the white distance that does not exist" ...
Sonia manzano
ESSENTIAL ANTHOLOGY ECUADOR XNUMXth CENTURY POETRY
Selection and presentation of Hernán Rodríguez Castelo Quito, Eskeletra, 2004
Part of an editorial project that totals 5 volumes (also: short story, essay, literary criticism, short novel). In it, Rodríguez Castelo - a well-known critic of the country -, in a tight synthesis, reviews the most relevant names and poems of the last century in Ecuador. The study begins with poets born in the late s. XIX, whose work begins to be published well into the XX (Moscoso, Falconí, Ampuero); then it goes on to the contribution of the modernists (Silva, Fierro, Noboa, Borja, Moreno, Egas), avant-garde and postmodernists (Mayo, Carrera, Escudero, Gangotena, Estrada); It continues with the great Dávila Andrade, and ends in the current vates, many of which are currently in full production: C. Jaramillo, E. Jara, J. Adoum, E. Moreno, D. Ledesma, A. Ortiz, I Espinel, F. Tobar, F. Cazón, E. Granda, B. Sáenz, I. Carvajal, J. Pazos, R. Oviedo, A. Iza, S. Manzano, F. Espinosa, M. Laso, F. Balseca , S. Vanégas ...
Unique book, insofar as it offers a comprehensive and well-founded vision of the poetry written in Ecuador during the XNUMXth century; A work destined to be an obligatory reference for every reader interested in the subject, and even more so, for students of the development of our lyrics through its different paths and stages.
Alexandra Andrade
WORD WEAVERS
II GENERAL POETIC ANTHOLOGY OF THE PROMETEAN POETRY ASSOCIATION
Madrid, 2005
On the occasion of celebrating the XXV anniversary of its foundation, the APP publishes this work with contributions from poets from 14 countries. They were asked to send three texts: a chosen poem and two unpublished; With which three objectives were embodied: a) to form an anthology of Promethean poets, b) an anthology that is at the same time self-anthology (for that of the favorite poems), and c) a selection of current poetry (for the unpublished poems).
In the book, more than Spain (E. Ballesteros, I. Díez, E. Gracia, J. López, A. Reyes, J. Ruiz, E. Valle ...) are represented, the following countries: Argentina (R. Altamirano , L. Furlán, B. Schaefer, R. Sobrón ...), Uruguay (M. de Arévalo), Mexico (F. Azuela, M. Trejo ,,,), Colombia (O. Castillo, O. Echeverri), Cuba ( C. Chacón, L. Estrada, D. Villalobos), Venezuela (R. García, E. Viloria), Chile (A. Larrahona, M. Rafide, F. Toro), Puerto Rico (A. Martínez), Guatemala (A . Soto), Canada (N. Río), Portugal (J. Marta), United States (L. Ambroggio) and Ecuador (S. Vanégas).
WEAVERS OF WORDS (whose title was chosen as a tribute to Diego de Velásquez and his work "Las hilanderas") thus constitutes a work of great interest and novelty, both due to the methodology used in its elaboration, as well as the fact that present a significant sample of current poetry in the Spanish language.
Sara Vanegas Covena
Credits
Year 5, Number 8
November 2005
Brazil 3-101, Cuenca
Fax: 2818 840
email:svanegas@uazuay.edu.ec
Director:
Sara Vanegas Covena
Collaborating in this issue:
Francisco Salgado, Juan Ruiz de Torres, Emilio Ballesteros, María José Mielgo, Sonia Manzano, Alejandra Andrade.
Layout:
Engineer Katherine Ortiz Vidal
The management is not responsible for the opinions contained in the signed articles. Partial or total reproduction is allowed, if the source is cited.
Correspondence and collaborations:
box: 01-01-1178,
Ecuador basin
email: svanegas@uazuay.edu.ec