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30 years of "Noches de Adrenalina" Carmen Ollé

The House Peruvian Literature (Jr. Ancash 207, Lima) will present roundtable on one of the most important poets of the poetic tradition Peru: Carmen Ollé and 30 years after the publication of adrenaline Nights (1981).

Poemario bold and innovative, its appearance is central Peruvian opera in recent decades, with a clear perspective on neovanguardia which emphasize the liberated woman openly addressing the issue of body and sexuality female. Nights adrenaline 30 years will take place on Thursday May 19 at 6: 30 pm under the company Rocío Silva Santisteban and Giovanna Pollarolo who will address different perspectives on the poem and Peruvian poetry contemporary. Admission is free.

As clearly noted literary critic Miguel Angel Zapata 's ollowing the tradition of Sappho, Catullus, Cavafy, Delmira Agustini, Pablo Neruda and Georges Bataille, Ollé opt in poetic discourse by the excess of passion. His eyes and poetic experience not look only at the desired erotic object but also its own body. Your body is the temple of love and culture, a ghost who feels the world in its architecture wear. Their expressions are a reflection of verbal and physical self-analysis, and situation of women in the contemporary world. The language you use to show his body is transformed into an external textures (skin, mouth, teeth) and internal (flows, stool, emptying the uterus) to contextualize a vital linguistic unit. This introspective look-physiological refers not only to anatomical principles but to a much more complex having to do with his reflection on poetic language and the culture that inhabits: the poetry of Carmen Ollé anatomy is textuality. "

Carmen Ollé (Lima, 1947) studied Pedagogy and Literature at the Universidad Nacional Mayor de San Marcos and obtained a Bachelor of Arts in Education, specializing in Language and Literature. He has published the following books: adrenaline Nights (1981), proudly smokes all night (1988), Why make so much noise? (1992), The two faces of desire (1994), Track false (1999), A girl under its umbrella (2002). He has also still anthologized in several anthologies of poetry Peru in Peru and abroad, and translated into several languages.

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poetry workshop Hildebrando Pérez


One of the founders of the Poetry Workshop at the Faculty of Arts at the University San Marcos, the poet Hildebrando Perez, make the traditional Poetry Workshop at the House of Peruvian Literature.
The workshop aims to review critically and creatively poetic tradition and provide the techniques to start or learn in the poetic task. The first reading ... as will be on the poetics of Octavio Paz, TS Eliot, Saint-John Perse, among others.
The workshop is aimed at people who are doing so amateur or professional poetry. Professor and poet
Hildebrando Pérez (Lima, 1941) has won the Prize for Poetry House of the Americas in 1978 for his book "Spirits and other songs." Senior Lecturer in the Faculty of Arts and Sciences at the Universidad Nacional Mayor de San Marcos. Academic Director of the magazine Art and Literature "Martin", dedicated to contemporary Peruvian poets and storytellers. He was director of the poetry magazine "Piélago", co-director of the poetry magazine "Hypocrite reader," and deputy director of the Culture magazine "Bridge-Nippi." Her poems have been translated into English, French, German and Portuguese. He has published: Letter to Marcos Ana (1963), Sleep inevitable (1963), Brandy (Havana, 1978, Lima, 1982, Grenoble, 1990), Sol de Cuba (1979).

POETRY WORKSHOP IN THE HOUSE OF THE PERUVIAN LITERATURE
Speaker: Hildebrand
Perez Dates: Wednesday 1, 8, 15 and 22 June
Hours: 10:00 am - 12:00 noon
AIMED AT: poets, writers, fans, people connected to the literary world, journalists and the general public.
INFORMATION AND REGISTRATION: Peruvian Literature House (Jr. Ancash 207, Centro Histórico de Lima). Phone: 426 2573 Annex 106.
EMAIL: Riedro@gmail.com
CERTIFICATION: 20. 00 nuevos soles
REQUIREMENTS: Send resume and justification for participation.

Last day for registration: Monday 30 May.
be given material. LIMITED VACANCIES

FREE ENTRY

www.casadelaliteratura.gob.pe

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YELLOW BUTTERFLY BRACELETS

Here are some new models licorice bracelets made with leather, ceramics and spangles. Hope you like it for the summer now here, are beautiful and stunning.

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Talk about the concept of linguistic variety


Here is the link I gave a lecture on the concept of linguistic variety in the house museum Ricardo Palma.

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LICORICE

Another pendant as above made with leather, alloy and yellow agate butterfly.

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BUTTERFLY

. It shows in the environment, the arrival of good weather, the flower of the field, and the appearance of the beautiful butterflies among the flowers. Here
a pendant made of leather with pieces of metal alloy and a beautiful butterfly
pink agate.

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few words in memory of Carlos Eduardo Zavaleta Jorge Eduardo Eielson


Carlos Eduardo Zavaleta, the brilliant storyteller who gave us unforgettable stories, has departed. For those who were lucky enough to be his students and colleagues at the Universidad Nacional Mayor de San Marcos, is an irreparable loss, not only because his name is associated with the most remarkable stories of Peruvian literature, but also because he was a researcher and indefatigable translator. He always talked about their projects with a contagious enthusiasm, was planning to publish a book or two this year, but death does not allow it. Carlos Eduardo met in the courtyard of the Faculty of Arts. We shared our admiration for the prose of Raúl Porras Barrenechea. I had an unforgettable gathering about the author of historical sources Peruvian , I always recommended reading some tests and Porras admitted being an admirer of his style brilliant. Zavaleta was also a translator of the poetry of James Joyce and is responsible for the incorporation of the techniques of William Faulkner in contemporary Peruvian fiction. It combines the work of the narrator with the essayist and researcher. Spirit multifaceted, cosmopolitan intellectual, but interested in the symbolism of our Andean world, Zavaleta will live on in his work, invaluable legacy for future generations.

Photo (source): www.unmsm.edu.pe

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MAS SKULL Skeleton

I have not put any new photo, but are made of a few days ago. I leave with two new models of bracelets with skulls that both are wearing this spring. These are made from the skulls of howlita, diecast parts, pink cat eye glass. Hope you like. Good weekend.

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in memory (final)


Once Delgado heard from Washington that, for him, the first half of the twentieth century Peruvian poetry was dominated by César Vallejo, whereas the second by Jorge Eduardo Eielson. I think in both poets may find the most representative aspects of contemporary Peruvian poetry. For example, the modernist legacy is in The Black Heralds, the Symbolist mark (so essential to the artistic movement of Rubén Darío) is Kingdoms. The poet came to Santiago de Chuco Trilce to the top of the avant-garde literature; Lima writer concocted an imaginary neovanguardista in Room in Rome. Paris modernity meant for Vallejo, Rome was for Eielson. It is interesting that both writers conceive some of his greatest poems in Europe, but there is always breathe a critical view of Western modernity. Eielson criticizes the nuclear danger and the reign of the consumer society in Rome, Vallejo, meanwhile, in "The wheel of the hungry", portrays the misery of the migrant in Paris. Without doubt, the best tribute to a poet is to read and make your message persist over time. This brief stop to immerse myself in rereading of Room in Rome, an essential poems of Latin American literature.

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Jorge Eduardo Eielson in the memory (I)


A was born April 13 poet Jorge Eduardo Eielson (1924-2006), a complete artist in the fullest sense of the word. Performed poetry, novels and the visual arts. Unobjectionable bill concocted works. Perhaps the three most notable poems are Kingdoms, Room in Rome (probably his magnum opus ) and Dark Night of the body . In the novelistic genre, gave the press a remarkable text: Main Giuliano. Went into exile and died in Milan. In Kingdoms, is the survival of a symbolist poetry so dear to Stéphane Mallarmé, but there are breaths also the atmosphere of Rainer Maria Rilke. Poems like "Ravel's Tomb" are among the best works of literature in English. Room in Rome marked a turning point: the poet ventured to confront the issue of modernity and to criticize the standardization of life in big cities. Rome is the prototype of the modern city, threatened by the nuclear and the consumer society. Dark Night In body, Eielson explored the corporeal substance to advocate a fierce introspection and to account for the fragmentation of the arms and legs of human beings.

(To be continued ..)

Photo (source): http://poesiaentrevista.blogspot.com/2006_08_01_archive.html

White Tux With Hot Pink

Current poems

It is interesting to some current situation with the poets, a result perhaps of the greatest poets that everyone knows. Thanks to them, many people were inspired and motivated to write well. That's fine. The downside are the readers and supporters of the main poets. How often and how many have not been cut the inspiration and motivation to write because they believe it will not be well received. How many have seen others write and think "just that it planned to write so many weeks ago, and was not made by the same critics say few paint art critics claimed).

may happen one of two situations (maybe more). If one writes poems inspired by famous poets, fans say, "And you? you think 'foo'?" or 'quiet' foo '. " Which is often discouraging. Or if you write with a different style, fans will say "What rubbish!" because it is similar to 'foo', the immortal. Lot of motivation on the part of fans who do not dare to write that only kiss the feet of the famous writer.

some fans will say, "but there's contemporaries who write very well." Interestingly generally refer to foreigners (the same or different style of eternal forever). I wonder if it will happen well in other countries. Much of this I have seen in "slippers" (the who know me know what I mean with "clogs").

I like to see some writing their poems. Many will like. Some may not be my style, but how good they do. Sometimes I feel that "just had planned to write something."

immortal The trouble is that there are some fatal chance to immortalize themselves.

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of cameras (and cars)

seems that in these times is no longer has respect for professional cameras as before.

Many people seem to believe that they have become great photographers have very good cameras. I've always had a phrase: "The car does not make the driver." Many are not increased its lack of personality auto tremendous that even worked.

believe that the real-professional photographers, professional amateurs, people with lots of practice and experience, deserve more respect. Many people get their large chambers that lead to all kinds of events provided to show them off, or is it really necessary to use a professional camera 35 or 55mm to capture the group of friends having a beer or shots of tequila?

I think they really know how to use a professional camera know how to exploit something beyond the image, known capture something extra that is transmitted in an emotion of those who see the pictures. That's why I respect and admire

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How to Read a Poem (final) Amayo Daniel Magallanes


Terry Eagleton, in the third chapter of How to read a poem , examines the contribution of the Russian formalists, among which Viktor Shklovsky, Roman Jakobson. Discusses the theory of estrangement or de-familiarization of objects is accomplished in a poem, so that the reader seems to see for the first time, "a stone" freed from its everyday context and machining. Principle that no doubt has its limits, since it relies on the theory of diversion, by which a poetic statement constitutes a violation with respect to the literal sense of the word. If the theoretical foundation is universalized, then it shows its limits: there are poems that are based on everyday language and which employ very few metaphors. Subsequently, Lotman puts Eagleton as a descendant of the Russian formalists unorthodox: "Poetry [as Lotman] activates the body entirely significant. Simultaneously exploding sound, its meaning, its form, intonation, rhythm, symbolic value, and so on, releases its most intense potential "(p. 68). The English critic questions what he calls" fallacy of the Incarnation, "for which the poem" embodies "the meaning, ie becomes things. Here, based on Lotman, Eagleton emphasizes that the poem as a semi-autonomous system is on the other systems such as the language, therefore, although there is a reasoned relationship between the level of signifier and signified, the first does not become the second. The author of How to read a poem remarks that in a poem is accompanied by verbal effects of moral perceptions, as a poetic text speaks of ethical values \u200b\u200bwithout falling into a mere moralizing or didactic teaching. In the fourth chapter, "In Search of the Shape", develops the idea that literary forms are not slaves of the content of poetic discourse, but there is a link between the semantic and aspects of shape (like rhyme , rhythm or syntax) in a poem. Eagleton here is unequivocal: "Not all critical statements have to be a what in terms of how. But we can say, however, that the prototypical act of criticism is exactly that "(p. 83). And the poetry is more radical, formal features are undoubtedly constitute the meaning, but are not servants of the sense of poem. Professor at the University of Manchester examines an extremely illuminating: as against the content in a poetic text. Many times, make the mistake of punishing that there is overall consistency between the signifier and signified, however, this principle should be qualified. The sonnet is a very baroque could conflict with the sense that it emphasizes the idea of \u200b\u200breturning to the simple life of a pastor, that is, the orchestration over the defense luxurious simplicity of everyday life as a proposal. Building on the perspective of linguistic pragmatics, Eagleton says that the poem is a performative act, "the poems are actions, not mere objects on a page" (p. 110). If one praises the humility as a virtue - Eagleton argues - with a threatening tone, then we are in a performative contradiction, because there is an opposition between the poem as an act (threat) against the formal orchestration (humility). This is not a defect of the artistic text, but an essential feature of it. In the fifth chapter, the author demystifies that literary criticism is one symptom of whimsy subjectivism: "But, for starters, we should note that failure to agree on a matter not necessarily entail the presence of subjectivism" (p. 127). Then requires some very useful categories for analyzing poetic tone ("modulation of the voice that expresses a particular attitude or feeling", p. 143), height (high, intermediate or severe), intensity (off, angry slow, for instance) and texture ("lies in the way a poem weaves its different sounds recognizable structures", p. 149). The sixth and final chapter, Eagleton illustrates the concepts outlined above in the analysis of poems very representative of the tradition English language: "Ode to the sun" by William Collins, "The solitary reaper" by William Wordsworth, "The grandeur of God" by Gerard Manley Hopkins and "Fifty fagots" by Edward Thomas. The book ends with a reflection on the importance of the structure of the poem, in effect, "a more insightful into the way presents this as a means of history itself" (p. 199). Poetry is, in the words of Eagleton, somewhat reluctant to political analysis, but that does not mean that that is impossible to address from a socio-historical perspective. Reading a poem is a remarkable essay because it offers a different view about dialogic approach, without attempting a poetic text, so dogmatic, single method, without falling into the abyss of content compilers, covert form of intellectual laziness that makes the ink suggestive analysis of literary form, undeniable evidence of the profession of an artist .

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I show the latest fashion in bracelets. are made with Howlite skulls accompanied turquoise, moonstone and metal parts.

The left accompanied by brooches made with zippers in remaining in February.

I hope you like.

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Cope Wins Short Story Prize 2010


Graduate School of Literature at the Universidad Nacional Mayor de San Marcos, Daniel Amayo Magallanes (Lima, 1980) just get the top spot Short Story Award 2010 Cope conferred by PetroPerú, in recognition of his story "ayaymama." Cope The Second Tale of 2010 was to the Elmer López Guevara for his story "The man who had half die", the third to Ivan Loyola Velarde, for "An alchemist in the Caribbean." The jury was composed by Gustavo Rodríguez, Edgardo Rivera Martínez, Mudarra Américo, Pedro Cateriano and Ricardo González Vigil. Daniel Amaya was co-founder of poetic Coito Ergo Sum. In 2003, ranked third in the Second Biennial Competition in honor of César Moro, organized by the Faculty of Arts and Sciences at the Universidad Nacional Mayor de San Marcos. He currently serves as a member of the editorial board of the journal Contexts. critical review of literature and literary magazine Ink Express.

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How to read a poem (III)


's book Terry Eagleton is structured in six chapters. In the first ("The functions of criticism"), the author points out how "the language of a poem is establishing their ideas" (p. 10). Says that the great critics provide a dual focus: on the structure of the work and cultural contexts. They are success stories: Bakhtin, Benjamin, Auerbach, Curtius, Burke, Wilson, Said, Trilling and Empson. For the Cambridge School (FR Leavis and IA Richards), poetry was an indirect form of political criticism. Eagleton notes that, currently, we are in a situation
algid: "If most of your professional (literary criticism) have become less sensitive to the literary form, some of them also view with skepticism the social and political critic . At present, much of that political analysis has been transferred to cultural studies, but cultural studies, by contrast, have often ignored the traditional project analysis form. The two areas of study have learned little from each other "(p. 25). This devastating critique of Eagleton to a form of Cultural Studies stresses the need to strike a balance between formal analysis and the political approach of the socio-cultural contexts.
In the second chapter ("What is poetry?"), Eagleton argues that the poems are moral statements, because they show no moralizing or didactic purpose, but because they deal with human values \u200b\u200band they do so fictional, "'fictionalize '(...) is to separate a written text of his immediate empirical context and made to serve a broader purpose "(p. 42). The author stresses that poetry constituye una institución social. Aunque un poema posee un fin en sí mismo, tiene consecuencias de tipo práctico para nuestra cultura. Es como una ceremonia --remarca Eagleton-- que se inserta, a su manera y con un estilo propio, dentro de la praxis humana.

(Continuará...)

Foto(fuente): http://current.com

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Mauro Mamani Macedo Cope Wins Essay Prize 2010


Mauro Mamani Macedo , profesor de la Universidad Nacional Mayor de San Marcos, obtuvo el Premio Internacional de Ensayo Copé 2010 en mérito a su ensayo José María Arguedas…Urpi, Firu, Quri, Sonqoyky . He holds a degree in literature and linguistics at the University of San Agustin de Arequipa and MA from the University of San Marcos. Has also concluded in the Dean of America Ph.D. in Peruvian and Latin American literature. He has published the poetry collection word Intimate (1998) and books of literary criticism Manuel Scorza. Tribute and memories (2008) and Andean Poetics, Puno (2009). The jury (comprised of Marco Martos, Jorge Valenzuela, Ricardo Silva-Santisteban, James Campodonico and Alonso Cueto) also awarded two honorable mentions: Eduardo Torres Arancivia by The power of words ... speeches, sermons and political history of Peru, and this blogger for César Moro, "a cannibal of culture? Congratulations to Mauro Mamani for winning such an important award.

Photo (source): http://www.losandes.com.pe/recursos/fotos/2869_370x0.jpg

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How to read a poem (II)


How to read a poem (Madrid: Akal, 2010) attempts to illuminate the road in the desert. With his usual didactic spirit, Eagleton begins development de sus ideas comprobando una dramática situación: "La mayoría de los estudiantes, cuando se enfrentan a un poema o una novela, de forma espontánea, derivan hacia lo que se conoce como 'análisis de contenidos'" (p. 10). Nuevamente, levanta la cabeza el contenidismo y de ello, nosotros, los docentes, somos, en gran medida, responsables. No hemos ilustrado lo suficiente al alumno respecto de la necesidad de que reconozca el valor del trabajo con el lenguaje que realiza el escritor, esa orfebrería que un autor como César Vallejo realiza de modo hacendoso. Sin el conocimiento de ese mecanismo de relojería que significa la labor de un artista con la palabra, no puede un joven estudiante adentrarse en la senda de la crítica literature. No one denies the importance of articulating the comprehensive reading of literary texts to the analysis of the vast cultural contexts, but students should educate his artistic sensibility from primary school. Two factors are also the responsibility of the student's interest in little formal analysis: the press and the internet. In Peru, journalists tend to write with a major oversight in the formal setting: the language of daily evidence to the letter, expressive scandalous poverty. In addition, add the reign of homo videns (described by Giovanni Sartori), ie the man who sees, who has beaten the man who reads traditionally. The educators have failed to turn the nut and have not thought creatively about how to respond to the crisis of "written culture" versus "visual culture." This is not to put more computers in schools or universities, but the challenge that puts us on a daily basis, the knowledge society, where everything changes, minute by minute, dramatically. Eagleton notes, "may seem strange that a literary theorist with political leanings as I call attention to the words on the page. Does the score is one thing and politics is quite another? You may doubt that such a distinction is consistent. It would be very difficult demonstrate how the score on the writing of DH Lawrence, as does creating a fluid and spontaneous effect is related to his vision 'organic' in the world, and this in turn with his critique of industrial capitalism. There is the way policy is no policy content. The form is not a way to deviate from the story but a way to access it "(p. 17).

(To be continued ..)

Photo (source): http://

fcom.us.es/blogs/vazquezmedel/files/2009/11/terry-eagleton-btl-2006-a.jpg

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How to read a poem (I)

s
Currently, an area of \u200b\u200bliterary criticism it is fashionable to forget the analysis of literary form. There is the mistaken notion that if the researcher, specializing in poetry, it stops at the approach of a rhyme, the kind of verse or rhetorical figures, then rack their brains in banalities. This type of hermemeneuta is described as "formalist", "irresponsible" politically speaking, then, on the one hand, people are starving, and, on the other hand, this "gentleman" is concerned by the pace of sonnet. How can it be - it is argued - that if there is so much gender violence or racism in the world (as criticism, by the way), someone could care about the score a poem? Roland Barthes, Mythologies , said that some formal analysis takes us away from the story, but much closer to us powerfully formal approach to the latter. Therefore, we conclude, a history of poetic forms or narrative or dramatic is a project to be carried in literary criticism in Peru. I just finished reading a book highly suggestive and written by a neo-Marxist thinker: How to read a poem (2010) by Terry Eagleton. The book, originally published in English in 2007 ( How to read a poem ) by the celebrated author of Introduction to the Theory literary, Benjamin or towards a revolutionary criticism or After theory is a real bucket of cold water on those who, from a socio-historical, believe they have the right to forget the analysis of literary form. Professor, University of Manchester, away from all content compilers (a trend that reduces the poetic and narrative analysis exclusive examination of the contents of the work), made a passionate advocacy of the literary approach and shows a sensitivity capable of paying attention to the structural details of a poem articulated the ideology behind this. I think it was a success this theoretical UK published in recent years, moves to an essay reflecting on the need to rethink our current agenda. Before summarizing the ideas of Eagleton and critical judgmental about this, I have a personal anecdote. A couple of years ago I attended as a speaker at an international conference on literature. When I saw the event's program, I had the feeling of "meet-the-air, not knowing if I was in an international seminar on food, advanced mathematics or dressmaking. I agree, of course, to expand the body of Latin American literature, including statements such as, for example, myths, stories Andean Aymara and Mapuche Amazon, I can also Condec that literature is capable of being analyzed by sociologists, anthropologists and psychoanalysts. However, I do not think anything goes at a conference of Latin American literature. One can focus on Andean myth, but I believe that a fundamental aspect is the analysis of texts (written or oral) or, in another context, a theoretical approach is relevant, very useful indeed, but that does not give up its possible application to the approach of poems or stories (oral or written) or plays, for example. I can not ban (because fascist would do) to a sociologist or psychoanalyst to analyze a sonnet , but it would be important to pay some attention to language and not stay in a mere description of the contents.

(To be continued ..)

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ANOTHER CENTENNIAL: Emilio Adolfo Westphalen TO CENTENNIAL


This year not only marks the centenary of the birth of José María Arguedas, but also that of Emilio Adolfo Westphalen (1911-2001 .) Surrealist poet mark an important part of his literary output, tireless cheerleader magazines like Dwellings or Amaru, essayist subtle lineage Paul Valéry, Westphalen left an early testimony of his poetic genius in brief but intense poems as the strange islands (1933) and Abolish the Death (1935). After immersed in silence for decades and only sporadically published some poems. Over forty years later came another image despicable ..., published by the Fondo de Cultura Economica. It is a valuable collection a glimpse of how the work force was gathering Westphalen, despite the almost private edition of its two first collections of poems. We can say that the latter is the top of the production of the poet. In The strange islands wielded a surreal writing, but with a look unorthodox. Not led blindly by the principles of André Breton, but remained an undeniable lyrical. In Abolish the Death orbit away from the surreal to cultivate a verse more about a classical perspective. Westphalen shares with César Moro iconoclastic vision, that is, a perspective that breaks new preset and takes a break as a vital practice. So they wrote Bishop Vicente Huidobro or bottled a pamphlet that castigated the Chilean poet at the same time questioned the uncritical assimilation of European models in Latin America. It marks the centenary of the birth of Emilio Adolfo Westphalen. The best tribute to a writer who was a friend of José María Arguedas, is reread and see how his work has expired, paradoxically, the inexorable passage of time.

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System Restore and Virus Malware

Sometimes we rely on links from friends, even if it was "posted" by themselves on Facebook, for example. But sometimes to do evil file is included, malware aimed steal information and damage your machine. My case was as follows:

After clicking the link, closed my browser (Chrome) and would not let me reopen it, or Firefox. The sale was an emergency outgoing Internet Explorer. At the time the antivirus that was installed was AVG free version, and to repair the situation needed the full AVG, but since it was in the emergency system, did not even buy it on line (Inlcudes me to "blacklist") .

best thing I did was go to "System Restore". Start, Programs, Accessories, System Tools and finally System Restore. A couple of days back is more than enough. After you restart the system appears as if nothing had happened. It was then that got the best full virus, prevention is better, because the free version does not always solve all problems.

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Andahuaylas Born in 1911, anthropologist who compared the indigenous communities of Peru to Spain, researcher of oral literature, the narrator in Castilian Quechua and poet, José María Arguedas is one of the essential names of our literary tradition. It is difficult, perhaps impossible, to summarize his contribution to Latin American culture. His work is dissimilar edges, but I think Deep Rivers (1958) is perhaps the summit of the writer andahualyno by how immersed in thinking through legendary Andean prose full of the magic of poetry and an oral tradition that resonates with their own money, in the field of writing. People like Ernesto, Antero, Lleras, Valle, father and opa Director Marcelina set an atmosphere of social and religious conflicts that represents in microcosm, Peru and frustrated project of becoming a country that accommodates the different cultures that live within it. The river Pachachaca, Maria Angola, settlers make the individual experience of the characters who live in boarding Abancay, bind to the river of history and magma rising social conflicts. 2011 will celebrate the centenary of the birth of José María Arguedas . Beyond the speeches of politicians who take advantage of this time for their own purposes, I think it is a moment of reflection: Have we learned the lesson that we made urgent José María? Do we make an effort to "live happily all nations", as he yearned increasingly in its fruitful existence? The best tribute to the writer andahualyno will not only read his books, but to recognize the other, that is, the different cultural, religious or social. On the basis of recognition of another advance in the path from being a country where equality reigns and in which cultural diversity can recognize ourselves.

Peliculasde Incesto Descargar

The drop from the sky before falling
evaporated with the answer if you drown


or just get wet only would cool

Although the
avoided with the breath I feel in the hand without feeling
, I have the feeling still
season
Even that small drop vapor
had not gone far

M3 --- Blood

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Jose Maria Arguedas A NEW POETRY BOOK OF MARION


women's poetry has, in Peru, distinguished representatives, which include not only the poet Amaryllis, who led a famous letter to Lope de Vega, but White Varela superb mastery of verse which made it one of the writers of the so called generation of the fifties. We can list names like Carmen Ollé or Rocío Silva Santisteban to characterize the rise of the female voice in our literature. For Mariela Dreyfus (Lima, 1960) is certainly worth mentioning. He joined the controversial group "Kloaka" with Palm Sunday and other writers in the turbulent eighties, crossed by the violence and disappointment. It began with a promising collection of poems, memories Electra (1984), then it was setting up a style that came to one of its most notable with Placer ghost (1993), book won the poetry prize of the Peruvian-Japanese Association in 1992. Share it with Rocío Silva Santisteban cultivation essay as a genre, his academic training at a U.S. university and the approach to a kind of "erotic poetry" (definition debatable, no doubt) that it is still a profound questioning of the patriarchal structures of power. Currently, Mariela reside in the United States and professor in New York. Also noteworthy his fruitful work as a translator, because he has poured into English poems by authors like Allen Ginsberg and Sylvia Plath.
Dying is an art (2010) is a collection of poems dedicated to his mother. It attests to the dedication: "Im Bertha Dreyfus Vallejos: Mom." From the first intense verses that predilection Takes Flight, "the sea me open her womb / I blanket the waves are yellow / maternal touch that remote." The marine element in both maternal symbol, looks like one space where I so inevitable progress, as if to meet the target, so that memories are woven like waves that graze on the rocks.
At other times, emerges the theme of the disease. "Ivory" is a very enlightening poem about it: written in verse, short, stabbing through the use of overlap. It is a stark portrait of the agony: chloroform, necrosis next to a deep reflection on time "drilling" human beings, as if to bring them closer to the untamed edge of death. Dreyfus
sandwiches, with wisdom, poems about motherhood with others who develop a love partner. "Snapshot" is a dialogue between literature and photography through the ubiquitous memory of the mother, almost a rich intertextuality between the visual and auditory. In "Warning" is a tour of the texture of desire: "In a volcanic trip you and me / the dark skin beaded with sweat, / fold to envision / a lurking desire, adrenaline."
conversational tone that strikes a balance with the flow of metaphors. Trial of death as a fact that compromises entire existence: "We who have seen the death / also hear her breathing." A good collection of poems by Mariela Dreyfus.