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.
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But the essence of the instrument is water. A lot of poems end on their own titles, creating a feeling of being in an enclosure. Not only is this acceptable, but it seems this book argues it is the marrow of existence. It ties itself to the Word. But then again, marrow, or the essence of a thing, is already part of this tension.
It is simply a record of oliverko static moment. This book is hard to write about, around, through.
HTMLGIANT / In the Moremarrow / En la masmédula by Oliverio Girondo
Maybe this is necessary. In Girondo published Campo nuestroa single long poem. To undo the dovetails, quite literally. We have here competing notions: The original version of that first line is two. But once again, very gestural.
I think this book is extremely important.
I mean, in order to move all the plants from one hothouse to another, one ought to take inventory to ensure that no plant was left behind.
InGirondo was injured in a car accident which left him with diminished faculties. This is understandable, and this is understandably impossible. If love is the essence of things, the essence of love is More.
It is not writing itself according to the essence or the marrow of the source text, which is a sort of axillary re-generation.
So we make an inference. This is a reach, as psychoanalysis is a reach. The first left-indented column is the original Spanish poem.
In the Moremarrow/En la masmedula
The most faithful translation to me then embraces failure as a mode of mxsmedula. Between the two is the center-aligned column, the Middle Version. What we have here is Reproduction vs. These only grow at high elevations in the Andes. And problematizes; who wants to be an object? It is more primordial marrow.
It represents, among other things, a re-envisioning and re-fashioning and renovation of the Spanish language proper. The majority of the book is such best moments.
It reminds me of constituent elements readying themselves to become compound. We see an organism build its limbs in response to each limb just built. This too points out something for me that is disconcerting. Mi lubidulia builds to mi golocidalove.
The shores Girondo sticks his bridges with. I want to explain. Maybe something about the male poet accepting his anima, that female part of him that is stubbornly there but his machismo stubbornly rejects. Born in Buenos Aires, Argentina, on August 17,Oliverio Girondo studied and traveled widely in Europe as a young man, serving as a European correspondent for Argentine literary magazines including Plus ultra and Caras y caretas and establishing close friendships with writers and artists who introduced him to surrealism and other vanguard movements.
Or grammatically speaking, the definite article v.
Masmedul notice the Spanish helps. But my love takes partners, too. Which, in creation myths, sounds like the soul blown into dust to animate a person.