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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It is more primordial marrow. The writing is self-referential. He died in Buenos Aires on January 24, Or grammatically speaking, the definite article v.
In the Moremarrow/En la masmedula
Born in Buenos Aires, Argentina, on August ooliverio,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.
We are inside it. Therefore the recombinations in this book are all still legible, because they adhere to grammar rules but comment olverio them while deforming them.
This entire book does this, in fact, at its best moments. The third right-indented column is the finished translation. My Lumy does this, too, at its best moments.
Maybe this is necessary. Every left page gives the original Spanish version of the poem, and the right page holds the translation. 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 oligerio.
For this reason it is full of neologisms created via new word compounds, new combinations, then recombinations of those prior new combinations: This too points olicerio something for me that is disconcerting. It is split into two short sections. This is understandable, and this is understandably impossible. Variations on a theme of water.
In the Moremarrow/En la masmedula PAPERBACK – Oliverio Girondo : Small Press Distribution
Perhaps, then, this is not so foreign. Everything I do is everything I do, but, at end, shot through with love. There are other people there, straying, erranding. Who wants to be subject to objectification? To undo the dovetails, quite literally.
The original version of that first line is two. This seems a problematization. InGirondo married fellow writer Norah Lange, and during the mids their house in Buenos Aires served as a meeting place for the younger literary generation, including Francisco Madariaga, Enrique Molina, Olga Orozco, and Aldo Pellegrini. And problematizes; who wants to be an object? Action Books has a knack for finding works like this. The most faithful translation to me then embraces failure as a mode of writing.
It reminds me of constituent elements readying themselves to become compound.
maasmedula 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. How to reproduce this verbal rejuvenation in Spanish, masmrdula to forge from the English a new poetic language. A lot of poems end on their own titles, creating a feeling of being in an enclosure.
His first book, Veinte poemas para ser leidos en un tranviawas published by a small French press inand Calcomanias was published in Span in But once again, very gestural. I think this book is extremely important. Mi lu builds to mi lubidulia. It is not a garden. But the first two lines of the translation are confusing to me. Or is it oliveeio turtles all the way down?
In the poem Plexile, the page topography is different.
Between the two is the center-aligned column, the Middle Version. InGirondo was injured in a car accident which left him with diminished faculties. It takes an object. I notice the Spanish helps.
Maybe something about the male poet accepting his anima, that female part of him that is stubbornly there but his machismo stubbornly rejects. The first left-indented column is the original Spanish poem.
The problem this brings the translator, of course, is how to remain faithful.