Amor en vilo by Pere Gimferrer

By Pere Gimferrer

Bajo el título de Amor en vilo Pere Gimferrer ha reunido 142 textos que constituyen su primer libro de libro de poesía unique en castellano desde 1969. Fechados entre abril de 2004 y diciembre de 2005, estos poemas aparecen (salvo el que cierra el volumen) en estricto orden cronológico, y relatan una singular historia de amor cuyos antecedentes e inicios son también materia del coetáneo libro en prosa Interludio azul. El retorno al castellano, atribuible a l. a. índole misma de l. a. historia, se traduce en una evidente variedad métrica. Resonancias que ya aparecieron en los angeles anterior obra del autor (desde Góngora hasta Rubén Darío e incluso Garcilaso, a menudo en l. a. lectura que de ellos hizo los angeles generación del 27) coexisten con un mosaico de alusiones a literaturas en otras lenguas, al mundo del cine o a l. a. pintura, para relatar una historia contemporánea en una diversidad de tonos y acentos que no se adscribe a tendencia alguna. Se cumplen aquí proféticamente las palabras que Octavio Paz escribió a Gimferrer en 1968: “Dentro de 10 años será usted un hombre joven y dentro de forty un viejo, pero siempre será, estoy seguro, un poeta joven. Con esto no quiero decir un poeta imperfecto sino un poeta dueño de esa perfección que sólo lo joven tiene”.

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Sample text

However, aside from this being a rather strained analogy, it does not prove that a man who wants to be an individual can stand alone. For the atom itself is a part of a molecule and cannot exist without interdependence, and even then, it is at best a simple theoretical construction for the convenience of conversation. We say that there is no virtue in a false independence, but there is value in a real interdepend­ ence. The third question raised with regard to collective art is an extension of the second one, and that is, does unity preclude diversity?

But because we blacks remember and feel in our bones the wasted lives of those generations of old people dead and gone and dying still, we see more, and there is nothing mystical about it. We see that it is no travesty of American justice, that it is American justice imveiled, that Bobby Seale, black man, bound and gagged, is what American justice has been from the very begin­ ning. My Black Aesthetic is the image of the beautiful Malcolm the last time I saw him in Africa, driven by his own recalled images, determined to return to what he knew was a certain early death because he must try to make a revolution in this white American hell-pit.

Three centuries’ thought has been the raising and unveiling of that bowed human heart, and now behold a century 28 The Black Aesthetic new for the duty and the deed. ” But each of us has his own images, for which we must not seek neat little definitions. For me the Black Aesthetic is in a photogiaph in the book Harlem on My Mind of two old black women, clinging to one another as they walk along the cold streets of New York City. Their faces, especially their eyes, are tired and worn, and their backs are bent, for they and their mothers before them have been working for centuries for noth­ ing.

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