cultural animator, director of several leading journals (such as Amaru and Dwellings), avant-garde writer ancestry, Emilio Westphalen Adolfo (1911-2001) brought the poetry to shine and subtlety. It was not a mere follower of the European Surrealists and was left captivated by the simple enumeration of dream metaphors. His work is an undeniable example of faith in the poetic word and fidelity to the persistent stylistic work, every word in a poem has been carefully meditated Westphalen, there is no place for improvisation or the lawless act of rational control disbelieving and are scattered in the tangle of cliches.
Mauro Marino (Ica, 1979) has just published Intertextuality in the Poetry of Emilio Adolfo Westphalen (Lima: Universidad San Ignacio de Loyola, 2010), which makes a comparative attempt to establish links between the work of the poet, and Eguren lyrical novel of Arguedas. Marino's essay begins with a balance of literary criticism that has come to the torrent of poetry Westphalen. The study comes to suggest that it has been recognized in the latter the operation of a profuse symbolism, the fragmentary the lyrical, the influence of surrealism and "hesitation and careful to observe the passage of time" (p. 41). This agenda issues identified by the investigator, allow this to will fly the hermeneutic perspective into paths dissimilar.
In the second chapter, Marino examines the correlation between European Surrealism and poetry of Westphalen looking for specific traits of Latin American surrealist poetry. Westphalen creatively assimilated the so-called "primitive thinking" out from the nineteenth-century positivism, the woman rises cosmological levels and raises the dissolution of opposites. Finally, in the last chapter, the researcher focuses on the intertextual approach noting the opposition sleep / wake and music both Eguren's poetry as that of Westphalen. It also compares the image of the river section of poems "The child the river "with which develops in Deep Rivers of Arguedas, outlining differences and similarities, the notion of learning, with dissimilar features in each case, reflected both in the avant-garde poet and the author of Peru of All bloods.
Marino's book has its merits: expository, comprehensive review of secondary literature and a comparative perspective sheds light on the fruitful relationship of poetry to the work Westphalen Eguren and Arguedas. Maybe missed delineate, with greater depth, characteristics of Latin American surrealism and clearly distinguish cultural differences between the river and Arguedas Westphalen: the presence of the Andean world in Andahuaylas writer is essential and there is no evidence, clearly, in "The Boy and the river."
In addition to the objections outlined above, I think Intertextuality in the Poetry of Emilio Adolfo Westphalen encourages discussion about a work that, increasingly, stands as a monument grows time and expands its influence, so powerful, in the mainstream of American poetry.
