IN THE MOREMARROW/EN LA MASMÉDULA is the final volume by the vanguard poet of 20th century Argentinian literature. “In the fabled Oliverio Girondo. That first line is beautiful & on one level it seems a sort of how-I-wrote-my-book- and-so-can-you! treatise by Girondo. They are the last 4 lines of. Oliverio Girondo — ‘una libélula de médulauna oruga lúbrica desnuda sólo nutrida de frotesun Oliverio Girondo, En la masmédula.
|Published (Last):||2 January 2018|
|PDF File Size:||6.40 Mb|
|ePub File Size:||7.51 Mb|
|Price:||Free* [*Free Regsitration Required]|
This seems a problematization.
Not only is this acceptable, but it seems this book argues it is the marrow of existence. The original version of that first line is two. giondo
If love is the essence of things, the essence of love is More. Love is the essence. Action Books has a knack for finding works like this. Masmedu,a wants to be subject to objectification? But the essence of the instrument is water. We have here competing notions: It is more primordial marrow.
Because it rewrites itself by correcting the mistakes of our World. We are exposed to its symptoms. It is not writing itself according to the essence or the marrow of the source text, which is a sort of axillary re-generation.
The first deals with the subtractive, the distinctive essence ; the 2nd deals with the additional, with excess.
En la masmédula (Oliverio Girondo) | Literatura que suena
Taking and then framing a photograph of the Cordon Cacti garden seems tempting, as a compromise and a memorial, but this is neither transplanting nor translating.
Mi lu builds to mi lubidulia. Variations on a theme of water. Perhaps, then, this is not so foreign.
In the Moremarrow/En la masmedula
A photograph, in masmedulz case at least, is not a oluverio. So we make an inference. Both the process of writing experimental poetry and the process of translating it — as well as the process of reading it — entail risk, a surrender of certainty and control in favor of trying to know and mean through language in the present in new ways.
I notice the Spanish helps. Between the two is the center-aligned column, the Middle Version.
It exalted vitality and faith in oneself and in the intellectual values of Latin America; the nationalism it proposed paradoxically combined intellectual independence and openness to European culture. And problematizes; who oliveri to be an object? Maybe this is necessary.
We are inside it. It contained the slant of my personality and point of view and present experience, but I made it as big as I could, making myself bigger in the process. How to reproduce this verbal rejuvenation in Spanish, how to forge from the English a new poetic language. Love for Girondo is a force that howls out. Gorondo is hard to say what stubborn female couplings refers to. The problem this brings the translator, of course, is how to remain faithful.
This is a reach, as psychoanalysis is a reach. We see an organism build its limbs in response to each limb just built. In Girondo published Campo nuestroa single long poem.
The writing is self-referential. What we have here is Reproduction vs. Or grammatically speaking, the definite article v. We need a new arrangement that fairly represents the old arrangement, but we need entirely new plants. This introductory passage I think offers reasons:.
Quote by Oliverio Girondo: “una libélula de médula una oruga lúbrica desnud”
The heart of the matter, the gist, the meat, the essence where the blood, where the oxygen-carrying vitality is produced.
A garden represents an exercise in duration, it is alive, it is exposed to time, it grows, it shoots new buds, other things flower from it. Mi lubidulia builds to mi hirondo.
Maybe something about the male poet accepting his anima, that female part of him that is stubbornly there but his machismo stubbornly rejects. There are 45 mouths. I think this book is extremely important. This seems to be the question at the heart of the book, enacted by its constant linguistic slippages. But the first two lines of the translation are confusing to me. But once again, very gestural.