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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Every left page gives the original Spanish version of the poem, and the right page holds the translation. Mxsmedula dovetail is a joint formed by two pieces whose respective notches are made one for the other, in alternating fashion, so they conveniently fit. To undo the dovetails, quite literally.
Quote by Oliverio Girondo: “una libélula de médula una oruga lúbrica desnud”
Love for Girondo is a force that howls out. This introductory passage I think offers reasons:.
Molly Weigel is a poet, translator, and therapist living near the Delaware River in central New Jersey with her husband, son, and four cats. But the essence of the instrument is water. In Girondo published Campo nuestroa single long poem. 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 deals with the subtractive, the distinctive essence ; the 2nd deals with the additional, with excess. It represents, among other things, a re-envisioning and re-fashioning and renovation of the Spanish language proper.
We are exposed to its symptoms. If love is the essence of things, the essence of love is More.
In the Moremarrow/En la masmedula
It is mqsmedula final clause that runs in counterpoint to everything preceding it, but more, that completes everything. This is understandable, and this is understandably impossible.
The third right-indented column is the finished translation. There are moments in the middle version, in column 2, that actually appear quite poetic, whether intentional or not.
We have here competing notions: The problem this brings the translator, of course, is how to remain faithful. The heart of the matter, the gist, the meat, maasmedula essence where the blood, where the oxygen-carrying vitality is produced. Therefore the recombinations in this book are all still legible, because they adhere to grammar rules but comment on them while deforming them. This too points out something for me that is disconcerting. Taking and then framing a photograph of the Cordon Cacti garden seems tempting, as a compromise and a masmeula, but this is neither transplanting nor translating.
It is hard to say what stubborn female couplings refers to.
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.
We cannot simply transplant them, we must translate them. What I mean to say is this.
Variations on a theme of water. It is more primordial marrow. I trust it as a mode of writing poems. Not only is this acceptable, but it seems this book argues it is the marrow of existence.
How to reproduce this verbal rejuvenation in Spanish, how to forge from the English a new poetic language. 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.
He died in Buenos Aires on January 24, The first left-indented column is the original Spanish poem. Because it rewrites itself by correcting the mistakes of our World. A photograph, in this case at least, is not a poem. It hermetically seals itself. 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.
This entire book does this, in fact, at its best moments.