Saturday, May 13, 2006
Sunday, April 2, 2006
Single Persons Withholding Should Be
On 19 August last year, a time when almost no one writes letters, Salvador Elizondo sent me a handwritten:
Dear Friend
First of all I want to thank and congratulate you on your splendid article in the Journal of the University on Moleskine notebooks .
Then I want to apologize for this old system of communication I have to communicate with you, but this is all I have or I have left. I used when I lived in Paris, Moleskine notebooks and there must be some among my memories of that time. I do not know about where you were, only that since I have not had missed. My current condition forces me to use things that were whims and follies of my youth, gloves, cane, hat, but one thing I've always needed were the books. Please, where to buy them here in town?
I thank you and wish you health. Your friend
Salvador Elizondo
Inclasificable as narrator, very strange to the prototype of the writer Latin American have in Europe, Salvador Elizondo in an instant ceased to be among us, his readers, his wife, his children, his friends, his brothers, his students, his comrades on Wednesday 29 March. 73 years completed a full and exemplary life for generations of writers: his country showed what the commitment to art, talent, elegance and dignity of a true intellectual. Besides art
narrative admirable and originally ran in novels like Farabeuf or chronic a moment, The secret hypogeous , The grafógrafo , Salvador Elizondo served as Octavio Paz called "the thesis without evidence", ie the literary essay is sometimes dealt with the painting (he studied architecture, he wanted to be a painter and filmmaker) and later of photography and literature. Photo
In some catalogs of photographs ever saw the hand of Salvador Elizondo to meditate, for example, pictures of Paulina Lavista. In his book, Contexts, fortunately for us, Elizondo rescued one of his most memorable, "Nicephore Niepce," in which strings of words with surgical precision, not only records the scientists who traveled avatars chemical research to fix images since the late eighteenth century. It also reflects on the photo that has pigmented impregnating the everyday nature of our lives. It is curious
Salvador Elizondo to the production of Niepce and Daguerre, the inventor of photography: the magnitude of his achievement is only comparable to that of Gutenberg.
Niépce "opposed a temporary dam to channel Heraclitean that somehow allows us to bathe twice in the same river."
Without photography, Elizondo argues, would be impossible two notions that underpin the life and politics: information and communication.
"Two of the highest offices of state archiving and propaganda, would be impossible without the discovery of this medium of expression less perfect but more likely that the descriptive writing. "
In a tone of In Search of Lost Time, Marcel Proust's novel, the author of Camera Lucida and Elsinore feels that "our personal pantheons have the form of a photo album and photograph not only permeates our memory and our history in we are located but also the mirror-like Mephistopheles, is capable of showing instant figure, if not the actual presence, in a fleeting and elusive, ideal. " Literature
A Mexican writers who Elizondo was literally better deciphered Juan Rulfo. I knew him since 1953, when both agreed as coordinators of the literary workshop of the Mexican Center of Writers, which had with the author of Pedro Páramo a friendly debate. Elizondo Rulfo claimed that invented the language and Rulfo replied that no, that language that structures his narrative is not one and neither could only be the language spoken daily in the villages of southern Jalisco (San Gabriel, Apulco, Sayula , San Pedro Toxin, Tuxcacuesco).
"His modesty is too great an artist couple, it is impossible that the people speak naturally to a literary pitch so marked that it is not noticed. I have been in Jalisco " Salvador Elizondo said, "and I've never heard anyone like Rulfo's stories. What happens is that he is the essence of this language and can be moved to the writing, which is the most difficult problem that exists for a writer. Transcribe speech written literary language and preserve their status talks. " Painting
When I was 18, the painter Arnaldo Coen met Salvador Elizondo.
- What you do you do? Asked the writer.
-A painting, "said Arnaldo.
- You know who was Paolo Uccello?
"I saw your stuff in books. I know that he painted in Florence in early fifteenth century, during the Renaissance, but nothing more.
"Well, when I saw The Battle of San Romano in the National Gallery hung up his brushes. I never painted. Thereafter
Arnaldo Coen picked up the brush left hanging Salvador Elizondo.
How Does Daktarin Work
Jacarandas in Condesa
As the bomber in his own blood
city steeped in lies my
of jacaranda flowers.
-Tita Valencia, The clus
trovar of jacarandas
dawn the streets carpeted in purple, flower-coated cars and during carnival, very sparse and trees, some still loaded with soft purple to continue the relay, because some are deflower first and others later, and reach the end of the week higher. Because or the jacaranda tree is Lent. Dura as a sigh, some forty days between Palm Sunday and the Resurrection of the last flowers are associated with the purple of passion in the Catholic liturgy.
After jacaranda are not completely naked, and in winter, but do not stain the neighborhoods of Condesa West and succeed in the sun valley Cuauhnáhuac as when one goes in between the predominantly purple foliage of Tepoztlan. On this side of the Condesa highlights dominion, the shadow Impressionist Cézanne, and plant these flowers Party then we spread on sidewalks and they are much more beautiful than those of East Condesa or Guadalajara or Colonia del Valle.
is our brief summer, from March to May in the capital, while in Mexicali and Hermosillo the oven up to 46 degrees and no air conditioning go out there until October. We did not reach the dog days of August, but goes dormant in the evenings between Mexican Eduardo carpentry, the Epifanio newsstand Valencia (better known as the Pifas), the shoe of Santiago Ramirez Muñoz master tailoring, hairdressing High Life of Don Miguel Cote, together with canteen closed doors and the Café de la Selva, a short walk from Gloria's Ernesto Chiandoni Saidi and coffee (serving the grandchildren of the colony Chiandoni Naples). Other trades are surprised devastated by the restaurants, the vulcanizing, electrician, baker. Survive the trunk, the locksmith, the watchmaker, blacksmith, plumbing, the bookseller, the lord of garbage, from the cleaners, but they have their days numbered.
Fortunately, for now, there is the Countess and Vips and Sanborn. Don Eduardo
Mexican (and read the name on the birth certificate of his great grandfather) is 93 years old and is Comonfort, Guanajuato. Arrives every day in pesero, with his staff inseparable, and remembers when he built a dining room and some booksellers to Amalia and General Lazaro Cardenas in Palmira, Morelos. "You do not go," the President told the carpenter and his assistant. "They get to eat."
"Do not let them tell you the Pifas. Don Epifanio tell you, "I say. People here are very close.
already has twenty-five years with his post at the corner of Michoacán and Cuernavaca, and often works with his wife and children Grisel Rosario, Jasmin and Edgar. And it is a being of light, says Carmen Gaitan. The most loving and supportive neighbors. A world all help. He employs an old man. Car wash. Da ball. You pay for coffee. You get to a laundress, a reliable taxi, a locksmith, an electrician, sells used books and magazines like The New Yorker Magazine littéraire and your library's Bench. It is an employer of service to others and, as few Mexicans have a word. Honor and pity.
In short, this plant bignoniácea, Jacaranda brasiliana or sagraena of beautiful foliage and large leaves divided into very small flakes and blue flowers in clusters, are short-lived. No longer in this world and the dead youth. In the week more before the Saints were covered with colored flannel jacaranda.
But its petals are not garbage. Thunder and stain the floor when you step. Creak. Are strong odor and smell it all day, are you up to the skull. If it rains the smell of asphalt flows very nice, as hueledenoche. Its roots spread horizontally to the surface, burst cement and broken gas pipes. Tiran leaves, violet, blue-purple, nearly purple, which means hope among Catholics. Its leaves bear flowers and seeds. Is constantly changing as snakes shed their skin, says Federico Ramirez, the catering chef chef Don José (in Atlixco and Montes de Oca), with experience in Greece and other Mediterranean cuisines.
And they also like the wine-dark sea, referred to in Homer's Odyssey: the color violet between the islands and Caribis Escilla in the Sicilian coast, the sea comes to certain hours of the morning. 
As the bomber in his own blood
city steeped in lies my
of jacaranda flowers.
-Tita Valencia, The clus
trovar of jacarandas
dawn the streets carpeted in purple, flower-coated cars and during carnival, very sparse and trees, some still loaded with soft purple to continue the relay, because some are deflower first and others later, and reach the end of the week higher. Because or the jacaranda tree is Lent. Dura as a sigh, some forty days between Palm Sunday and the Resurrection of the last flowers are associated with the purple of passion in the Catholic liturgy.
After jacaranda are not completely naked, and in winter, but do not stain the neighborhoods of Condesa West and succeed in the sun valley Cuauhnáhuac as when one goes in between the predominantly purple foliage of Tepoztlan. On this side of the Condesa highlights dominion, the shadow Impressionist Cézanne, and plant these flowers Party then we spread on sidewalks and they are much more beautiful than those of East Condesa or Guadalajara or Colonia del Valle.
is our brief summer, from March to May in the capital, while in Mexicali and Hermosillo the oven up to 46 degrees and no air conditioning go out there until October. We did not reach the dog days of August, but goes dormant in the evenings between Mexican Eduardo carpentry, the Epifanio newsstand Valencia (better known as the Pifas), the shoe of Santiago Ramirez Muñoz master tailoring, hairdressing High Life of Don Miguel Cote, together with canteen closed doors and the Café de la Selva, a short walk from Gloria's Ernesto Chiandoni Saidi and coffee (serving the grandchildren of the colony Chiandoni Naples). Other trades are surprised devastated by the restaurants, the vulcanizing, electrician, baker. Survive the trunk, the locksmith, the watchmaker, blacksmith, plumbing, the bookseller, the lord of garbage, from the cleaners, but they have their days numbered.
Fortunately, for now, there is the Countess and Vips and Sanborn. Don Eduardo
Mexican (and read the name on the birth certificate of his great grandfather) is 93 years old and is Comonfort, Guanajuato. Arrives every day in pesero, with his staff inseparable, and remembers when he built a dining room and some booksellers to Amalia and General Lazaro Cardenas in Palmira, Morelos. "You do not go," the President told the carpenter and his assistant. "They get to eat."
"Do not let them tell you the Pifas. Don Epifanio tell you, "I say. People here are very close.
already has twenty-five years with his post at the corner of Michoacán and Cuernavaca, and often works with his wife and children Grisel Rosario, Jasmin and Edgar. And it is a being of light, says Carmen Gaitan. The most loving and supportive neighbors. A world all help. He employs an old man. Car wash. Da ball. You pay for coffee. You get to a laundress, a reliable taxi, a locksmith, an electrician, sells used books and magazines like The New Yorker Magazine littéraire and your library's Bench. It is an employer of service to others and, as few Mexicans have a word. Honor and pity.
In short, this plant bignoniácea, Jacaranda brasiliana or sagraena of beautiful foliage and large leaves divided into very small flakes and blue flowers in clusters, are short-lived. No longer in this world and the dead youth. In the week more before the Saints were covered with colored flannel jacaranda.
But its petals are not garbage. Thunder and stain the floor when you step. Creak. Are strong odor and smell it all day, are you up to the skull. If it rains the smell of asphalt flows very nice, as hueledenoche. Its roots spread horizontally to the surface, burst cement and broken gas pipes. Tiran leaves, violet, blue-purple, nearly purple, which means hope among Catholics. Its leaves bear flowers and seeds. Is constantly changing as snakes shed their skin, says Federico Ramirez, the catering chef chef Don José (in Atlixco and Montes de Oca), with experience in Greece and other Mediterranean cuisines.
And they also like the wine-dark sea, referred to in Homer's Odyssey: the color violet between the islands and Caribis Escilla in the Sicilian coast, the sea comes to certain hours of the morning.
Monday, February 27, 2006
Dry Mouth Sleeping Solutions
E GOTEC
Federico Campbell was born in Tijuana, Baja California, on July 1, 1941.
studied law and philosophy at the Universidad Nacional Autonoma de Mexico and journalism (1966-67) in Saint Paul, Minnesota.
In 1969 he was Washington correspondent of the Mexican News Agency.
Between 1977 and 1988 he worked as a reporter for the weekly Proceso.
His novel The Morse code was published by Alfaguara.
His anthology of critical essays on Juan Rulfo, the fiction of memory, appeared in 2003 under the seal of Editorial Era.
In 2000 he won the Prize for Fiction Colima, awarded by the INBA and the University of Colima, for his novel Transpeninsular.
In 1977 he founded the publishing Typewriter.
In 1994 participated in the National System of Creators and in 1995 won the JS Guggenheim Fellowship.
theater has translated Harold Pinter, David Mamet and Leonardo Sciascia. Write in the journal
Goals and in newspapers in northwestern Mexico a weekly column, more literary than political: The Hour of the Wolf.
Work published
Novel: Everything
seals, Ed Joaquin Mortiz, 1983, in Tijuanenses volume.
pretext or the masked writer. Fund de Cultura Economica, 1979.
Transpeninsular. Joaquín Mortiz, 2000.
The Morse key. Alfaguara, 2001.
Story:
Tijuanenses. Alfaguara, 1997. Tijuana. Stories on the border. The University of California Press, Berkeley. Translation Debra Castillo. Contains All the seals and five stories, including "The Brothers."
Anthology:
Empire goodbye. Aldus and CNCA, 2002. Anthology of prose (short stories and novels).
The fiction of memory. Juan Rulfo to criticism. Era, 2003.
Essay: Sciascia
memory. Fondo de Cultura Economica, 1989. Postscript
sad. Tightrope Editions, 1994.
The invention of power. Aguilar, 1994.
black mask. Joaquín Mortiz, 1995.
Conversations with writers. Conaculta, 2004.
Interview:
The typewriter [interviews with FC] by Hernán Becerra Pino. Editions of the National Council for Culture and the Arts, Cecut, Tijuana, 1997.
* * * Key Morse
The son tells the story of his father, an old telegraph. Thirty years after the death of parents, three children are made about them and discover that each had a different perception of everyone. More than the story of an office in extinction, the telegraph, the Morse code sets the stage memory to reconstruct or invent from the relentless trial of children. The same experiences, never commented because they lived together, are just around the years, different for everyone: the invention of the father in each of the subsidiaries fantasies.
Transpeninsular
The theme is the search for the missing writer. It is a journey through the Baja California peninsula and on the last love of the narrator character, he is giving an overlap of geography, the peninsula of Baja California and Italy. Fernando is the story of Jordan, an anthropologist and journalist who in the 50 "discovers" the cave paintings of Baja California and died in 1956 in La Paz, at age 36, apparently by suicide, or murdered.
All seals
is a novel that happens in Tijuana teenage narrator's character, a memory Tijuana, to the 50. Beckett and the tone is melancholy. Much of the scenes take place in a rarefied atmosphere, delusional, schizoid. The boy falls in love with an American woman who arrives at the airport in Tijuana in a yellow plane, and finally concentrated all women in the narrator's life: mother, sisters, first girlfriend, the woman. Ones without a precise definition, intermediate, middle, amphibians and air, the protagonists assume time dilation and the purgatory of the borderline personality.
This novel was translated into English in Tijuana volume. Stories on the Border, by The University of California Press, Berkeley. Translation Debra Castillo.
pretext or the masked writer
is the story of a journalist, Bruno Medina, who was a government office charged with the false biography, a pamphlet by Professor Alvaro Ocaranza, to been disrupted. The novel reflects the atmosphere of political persecution that occurred in Mexico and other Latin American countries in the late 60's. The tragedy is exacerbated when the ghost writer, author of anónino, feel your Ocaranza relationship with the teacher is transformed into an identification that breaks your whole being and lives as a betrayal of the father. There is also the issue of relations between the press and power. All
hoax Bruno becomes a problem for identities, Pirandellian a betrayal of the symbolic father and a teacher's shame, a way of life and literary self-destruction, an inability to live life with courage, enthusiasm, passion and risk. Sexuality, sexual isolation, is mad, pointless and masturbatory mired in anguish. To his great misfortune, takes shape in his mind the possibility that paranoid in the end is investigated by means of a linguistic approach of estiloestadística. Meet the terror when he discovers that this method (literary police) in effect there will be annihilation and moral, mental, irreversible, by highlighting the project that had never suspected: the libel of his own life.
Sciascia memory is readable and introductory analysis of all the works of the Sicilian writer Leonardo Sciascia. This is a reflection on the mafia, the Sicilian, the English world, and things we have in common English, Mexican and Sicilian: the Holy Office of the Inquisition, for example. Also concerns the "sicilianización the world," Sicily as a metaphor for today's world and the disappearance of the state. It also contains a chronicle of Sicily tour and an interview with Sciascia.
For Claude Ambroise, the largest specialist Sciascia, "the best presentation of the work of Sciascia is a English-language book written by a Mexican (Federico Campbell, Sciascia memory) that, without being pedantic, but with precision and passion, outlines the research content sciasciana. Campbell's membership in the Hispanic world of greater thickness allows you to give the English side of the Sicilian writer: the critic reactive Mexican-Borges Sciascia dialogue and insert and update them in a Latin American context, reflections on the Inquisition and injustice. " (Leonardo Sciascia. Opere 1984-1989. A cure di Claude Ambroise. Classici Bompiani, Milano, 1991.)
Black Mask (crime and power)
The suspicion that the crime novel has not only the issue of justice and political legitimacy, but also a universe in which power is fused with the crime, led the author to weave a meditation on the police power and the absence of the state. Essays on detective novels and true crime.
Sad Postscript is a literary journal that takes as its model the Journal de Jules Renard or Brancati Vitaliano Roman Journal: a diary in public. Its theme is the impotence of literary why an accomplished writer stops writing and choose to keep quiet? There is a melancholy following the act of finishing a work, as suggested by the subtitle of the book: Post coitum omne animal triste.
The invention of power can be understood the invention of power in the sense that it says "the invention of the umbrella, but also and above all, as the capacity of power has prefabrication and inventive. That is, the power as a producer of reality and fiction: iron hands and paper tigers over a circularity not less theoretical than practical, for the power but also invented invented.
The typewriter
The volume, by Hernan Becerra Pino, anthology twenty-three of the best interviews throughout his literary work have made him the writer Tijuana. Among the interviewed literary obsessions include aviation, flying experience, the transience of journalism, literary impotence, the ambiguities of memory, the ghost of the father, the passion for Italy and Baja California, the crime of power and "Tijuana written by hand."
The fictional mind: Juan Rulfo to criticism
Selection and foreword by Federico Campbell. Anthology of fifty years of criticism of the literary work Juan Rulfo. 
Federico Campbell was born in Tijuana, Baja California, on July 1, 1941.
studied law and philosophy at the Universidad Nacional Autonoma de Mexico and journalism (1966-67) in Saint Paul, Minnesota.
In 1969 he was Washington correspondent of the Mexican News Agency.
Between 1977 and 1988 he worked as a reporter for the weekly Proceso.
His novel The Morse code was published by Alfaguara.
His anthology of critical essays on Juan Rulfo, the fiction of memory, appeared in 2003 under the seal of Editorial Era.
In 2000 he won the Prize for Fiction Colima, awarded by the INBA and the University of Colima, for his novel Transpeninsular.
In 1977 he founded the publishing Typewriter.
In 1994 participated in the National System of Creators and in 1995 won the JS Guggenheim Fellowship.
theater has translated Harold Pinter, David Mamet and Leonardo Sciascia. Write in the journal
Goals and in newspapers in northwestern Mexico a weekly column, more literary than political: The Hour of the Wolf.
Work published
Novel: Everything
seals, Ed Joaquin Mortiz, 1983, in Tijuanenses volume.
pretext or the masked writer. Fund de Cultura Economica, 1979.
Transpeninsular. Joaquín Mortiz, 2000.
The Morse key. Alfaguara, 2001.
Story:
Tijuanenses. Alfaguara, 1997. Tijuana. Stories on the border. The University of California Press, Berkeley. Translation Debra Castillo. Contains All the seals and five stories, including "The Brothers."
Anthology:
Empire goodbye. Aldus and CNCA, 2002. Anthology of prose (short stories and novels).
The fiction of memory. Juan Rulfo to criticism. Era, 2003.
Essay: Sciascia
memory. Fondo de Cultura Economica, 1989. Postscript
sad. Tightrope Editions, 1994.
The invention of power. Aguilar, 1994.
black mask. Joaquín Mortiz, 1995.
Conversations with writers. Conaculta, 2004.
Interview:
The typewriter [interviews with FC] by Hernán Becerra Pino. Editions of the National Council for Culture and the Arts, Cecut, Tijuana, 1997.
* * * Key Morse
The son tells the story of his father, an old telegraph. Thirty years after the death of parents, three children are made about them and discover that each had a different perception of everyone. More than the story of an office in extinction, the telegraph, the Morse code sets the stage memory to reconstruct or invent from the relentless trial of children. The same experiences, never commented because they lived together, are just around the years, different for everyone: the invention of the father in each of the subsidiaries fantasies.
Transpeninsular
The theme is the search for the missing writer. It is a journey through the Baja California peninsula and on the last love of the narrator character, he is giving an overlap of geography, the peninsula of Baja California and Italy. Fernando is the story of Jordan, an anthropologist and journalist who in the 50 "discovers" the cave paintings of Baja California and died in 1956 in La Paz, at age 36, apparently by suicide, or murdered.
All seals
is a novel that happens in Tijuana teenage narrator's character, a memory Tijuana, to the 50. Beckett and the tone is melancholy. Much of the scenes take place in a rarefied atmosphere, delusional, schizoid. The boy falls in love with an American woman who arrives at the airport in Tijuana in a yellow plane, and finally concentrated all women in the narrator's life: mother, sisters, first girlfriend, the woman. Ones without a precise definition, intermediate, middle, amphibians and air, the protagonists assume time dilation and the purgatory of the borderline personality.
This novel was translated into English in Tijuana volume. Stories on the Border, by The University of California Press, Berkeley. Translation Debra Castillo.
pretext or the masked writer
is the story of a journalist, Bruno Medina, who was a government office charged with the false biography, a pamphlet by Professor Alvaro Ocaranza, to been disrupted. The novel reflects the atmosphere of political persecution that occurred in Mexico and other Latin American countries in the late 60's. The tragedy is exacerbated when the ghost writer, author of anónino, feel your Ocaranza relationship with the teacher is transformed into an identification that breaks your whole being and lives as a betrayal of the father. There is also the issue of relations between the press and power. All
hoax Bruno becomes a problem for identities, Pirandellian a betrayal of the symbolic father and a teacher's shame, a way of life and literary self-destruction, an inability to live life with courage, enthusiasm, passion and risk. Sexuality, sexual isolation, is mad, pointless and masturbatory mired in anguish. To his great misfortune, takes shape in his mind the possibility that paranoid in the end is investigated by means of a linguistic approach of estiloestadística. Meet the terror when he discovers that this method (literary police) in effect there will be annihilation and moral, mental, irreversible, by highlighting the project that had never suspected: the libel of his own life.
Sciascia memory is readable and introductory analysis of all the works of the Sicilian writer Leonardo Sciascia. This is a reflection on the mafia, the Sicilian, the English world, and things we have in common English, Mexican and Sicilian: the Holy Office of the Inquisition, for example. Also concerns the "sicilianización the world," Sicily as a metaphor for today's world and the disappearance of the state. It also contains a chronicle of Sicily tour and an interview with Sciascia.
For Claude Ambroise, the largest specialist Sciascia, "the best presentation of the work of Sciascia is a English-language book written by a Mexican (Federico Campbell, Sciascia memory) that, without being pedantic, but with precision and passion, outlines the research content sciasciana. Campbell's membership in the Hispanic world of greater thickness allows you to give the English side of the Sicilian writer: the critic reactive Mexican-Borges Sciascia dialogue and insert and update them in a Latin American context, reflections on the Inquisition and injustice. " (Leonardo Sciascia. Opere 1984-1989. A cure di Claude Ambroise. Classici Bompiani, Milano, 1991.)
Black Mask (crime and power)
The suspicion that the crime novel has not only the issue of justice and political legitimacy, but also a universe in which power is fused with the crime, led the author to weave a meditation on the police power and the absence of the state. Essays on detective novels and true crime.
Sad Postscript is a literary journal that takes as its model the Journal de Jules Renard or Brancati Vitaliano Roman Journal: a diary in public. Its theme is the impotence of literary why an accomplished writer stops writing and choose to keep quiet? There is a melancholy following the act of finishing a work, as suggested by the subtitle of the book: Post coitum omne animal triste.
The invention of power can be understood the invention of power in the sense that it says "the invention of the umbrella, but also and above all, as the capacity of power has prefabrication and inventive. That is, the power as a producer of reality and fiction: iron hands and paper tigers over a circularity not less theoretical than practical, for the power but also invented invented.
The typewriter
The volume, by Hernan Becerra Pino, anthology twenty-three of the best interviews throughout his literary work have made him the writer Tijuana. Among the interviewed literary obsessions include aviation, flying experience, the transience of journalism, literary impotence, the ambiguities of memory, the ghost of the father, the passion for Italy and Baja California, the crime of power and "Tijuana written by hand."
The fictional mind: Juan Rulfo to criticism
Selection and foreword by Federico Campbell. Anthology of fifty years of criticism of the literary work Juan Rulfo.
Tuesday, February 14, 2006
Er For Impacted Bowels
The celebration of the letters
is probably no such activity took place as the writer. You do homage. Awards are given. Meet the glory here on Earth. Because each of his books is celebrated as the birth of a child enduring and not so fleeting and perishable as human.
Not so in the exercise of other trades. It is very likely that the most notable of the neurosurgeons, who saves a life or two a week, does not know in a lifetime celebrations this cluster can be a writer. It is highly unlikely that the anonymous neurosurgeon speaks to the cultural or scientific section of the newspapers to ask them to come and do an interview since only in so far this month has saved five lives. I could not do it or give you grief, unlike the artist who goes from self and becomes his own agent. Why? Because the egg must be cackling. Because even God needs steeples.
But all this makes sense: the writer is an activity of collective interest and its importance can not be measured by its social utility. It is obvious that a jumbo jet pilot or an engineer specializing in strength of materials (so that the buildings do not fall) more justified its reason for being in this world. The futility of art is known for many philosophers. And what happens is that the writer's products reflect, or at least intended to reflect the collective soul and your party is all it is the party of the tribe, as has been watching over one week during the International Book Fair of Guadalajara that today is the world's most important in English.
This year was devoted to Catalan culture and
-apart Llac Lluis concert and presentation of artists such as Enrique Vila-Matas, Albert Sánchez Piñol, and James Ellroy, giving him a very particular character is that Catalonia is not doubt the book publishing capital of the English. Guadalajara therefore converged in almost all publishers from Latin America and Spain, in a great literary festival. In a tribute to the Italian writer and publisher Roberto Calasso, who was awarded the Merit Award for his editorial work on the Adelphi house in Milan, not a few editors talk about their rivalries and competitions, and even envy as motivation than as a all human beings possess often before dawn, when the wolf. Beatriz de Moura, head and heart of editorial Tusquets (which announced a novel Tusquets Prize awarded in Guadalajara for the coming year), he said, to celebrate Calasso, that of the editors is "a very special tribe and capricious , the only one the feeling of envy is so positive and productive and where the biggest rivals are both accomplices. "
Over three days, from Monday to Wednesday, so you can appreciate the intensity of the encounters, conversations between a flag and other, exchange of books, new or reconfirmed the relationship between authors and publishers.
So in this event the enthusiasm of the readers in their encounters with novelists and poets of this body, there in front of them, flesh and blood, which promotes the most interesting experiences.
are so many book presentations and appearances by authors in person very often the audience has to sacrifice a session on the other. Or attend the dialogue between Paco Ignacio Taibo II and James Ellroy, author of The Black Dahlia and LA Confidential, or adding to the hundreds of readers who are listening to Elmer Mendoza when he talks about his latest novel written in English half Sinaloa and transnational drug traffickers as it has Action in Argentina and Spain: effect tequila.
James Ellroy looks black but is not. Neither is very white. And intervened in the suit conference track and field, as if he'd be jogging in the park. It's a great storyteller criminals and recreates the city of Los Angeles in the 50's, the only period that is passionate about the history of their country. Makes no friends with intellectuals and is closely related to police in their leisure time. He says he does not read newspapers or see television newscasts. His message is: you have to escape the media like the plague. Otherwise it can be isolated and work, except that only reads fiction to keep alive his fantasy. There is a man of ideas or theories, or at least I intended. Speak, for example, Tijuana without transcending the stereotype coined about this city that for some is the Northwest New York.
Barcelona The cartel
Enrique Vila-Matas
deserve a complete and exclusive. It was the great literary personality of the show. A serious man, a sense of humor (literary) absolutely original and somewhat Kafkaesque.
Moreover, in other presentations and in this racket, he turned to find that the Mexican writer and in general the Latin American-still waiting, needing and seeking the blessing of Europe: the editorial approval of Mother Spain to complete as a writer. The literary standing is now achieved in Barcelona, \u200b\u200bas before in Paris. So while the writer of this side is not published in Spain feels it is not. 
is probably no such activity took place as the writer. You do homage. Awards are given. Meet the glory here on Earth. Because each of his books is celebrated as the birth of a child enduring and not so fleeting and perishable as human.
Not so in the exercise of other trades. It is very likely that the most notable of the neurosurgeons, who saves a life or two a week, does not know in a lifetime celebrations this cluster can be a writer. It is highly unlikely that the anonymous neurosurgeon speaks to the cultural or scientific section of the newspapers to ask them to come and do an interview since only in so far this month has saved five lives. I could not do it or give you grief, unlike the artist who goes from self and becomes his own agent. Why? Because the egg must be cackling. Because even God needs steeples.
But all this makes sense: the writer is an activity of collective interest and its importance can not be measured by its social utility. It is obvious that a jumbo jet pilot or an engineer specializing in strength of materials (so that the buildings do not fall) more justified its reason for being in this world. The futility of art is known for many philosophers. And what happens is that the writer's products reflect, or at least intended to reflect the collective soul and your party is all it is the party of the tribe, as has been watching over one week during the International Book Fair of Guadalajara that today is the world's most important in English.
This year was devoted to Catalan culture and
-apart Llac Lluis concert and presentation of artists such as Enrique Vila-Matas, Albert Sánchez Piñol, and James Ellroy, giving him a very particular character is that Catalonia is not doubt the book publishing capital of the English. Guadalajara therefore converged in almost all publishers from Latin America and Spain, in a great literary festival. In a tribute to the Italian writer and publisher Roberto Calasso, who was awarded the Merit Award for his editorial work on the Adelphi house in Milan, not a few editors talk about their rivalries and competitions, and even envy as motivation than as a all human beings possess often before dawn, when the wolf. Beatriz de Moura, head and heart of editorial Tusquets (which announced a novel Tusquets Prize awarded in Guadalajara for the coming year), he said, to celebrate Calasso, that of the editors is "a very special tribe and capricious , the only one the feeling of envy is so positive and productive and where the biggest rivals are both accomplices. "
Over three days, from Monday to Wednesday, so you can appreciate the intensity of the encounters, conversations between a flag and other, exchange of books, new or reconfirmed the relationship between authors and publishers.
So in this event the enthusiasm of the readers in their encounters with novelists and poets of this body, there in front of them, flesh and blood, which promotes the most interesting experiences.
are so many book presentations and appearances by authors in person very often the audience has to sacrifice a session on the other. Or attend the dialogue between Paco Ignacio Taibo II and James Ellroy, author of The Black Dahlia and LA Confidential, or adding to the hundreds of readers who are listening to Elmer Mendoza when he talks about his latest novel written in English half Sinaloa and transnational drug traffickers as it has Action in Argentina and Spain: effect tequila.
James Ellroy looks black but is not. Neither is very white. And intervened in the suit conference track and field, as if he'd be jogging in the park. It's a great storyteller criminals and recreates the city of Los Angeles in the 50's, the only period that is passionate about the history of their country. Makes no friends with intellectuals and is closely related to police in their leisure time. He says he does not read newspapers or see television newscasts. His message is: you have to escape the media like the plague. Otherwise it can be isolated and work, except that only reads fiction to keep alive his fantasy. There is a man of ideas or theories, or at least I intended. Speak, for example, Tijuana without transcending the stereotype coined about this city that for some is the Northwest New York.
Barcelona The cartel
Enrique Vila-Matas
deserve a complete and exclusive. It was the great literary personality of the show. A serious man, a sense of humor (literary) absolutely original and somewhat Kafkaesque.
Moreover, in other presentations and in this racket, he turned to find that the Mexican writer and in general the Latin American-still waiting, needing and seeking the blessing of Europe: the editorial approval of Mother Spain to complete as a writer. The literary standing is now achieved in Barcelona, \u200b\u200bas before in Paris. So while the writer of this side is not published in Spain feels it is not.
How Many Calories Does A Bag Of Pop Secret Have
The Purloined Letter
After losing a lot of things, find them here or there, one could be instructed not random but very often something that can happen: the thing is lost under our noses. So if I lose something, a book in the chaotic library, the first thing I do is stand in front of the bookstore and see what lies in front me. And there is.
Where does this attitude? In a story that Edgar Allan Poe, the inventor of the detective story, wrote in 1848 titled "The Purloined Letter" and has passed into history as an apologist to understand the curious idea that the best way to hide a thing putting it in front of everyone. I for one think that this story also shows us that we often have things under our noses and we do not.
What famous murder this circumstance that in the light of day, at six in the afternoon, in front of a crowd that comes and goes Insurgentes Avenue, before dozens of witnesses, a gunman shot him lace his victim? This was not the only mystery that emanated from the death of Manuel Buendia in 1984 per another one of his most subtle. Why had to be done and when they could have completed in the darkness and into the open? Or venadeado? Mystery. Poe
fussy delayed talks on the police office, ie the art of looking for things in a house and set that technically is recognized as the "area search" check boxes, examine the top of the table below verify whether a leg of it is perforated or not. The agent proceeds by elimination, but only if someone has decided to hide something.
In the story that concerns us is the wisdom of the character who decides not to hide it but leave it there on the coffee table in front of the passing everyone. However, Auguste Dupin, the friend who tells the story of Poe, by convention, if you see the cunning of another, discovers that the hiding and suddenly, just by having folds and wrinkles too feigned, stabs him above the eye table. And in a careless decision, replacing it with a facsimile. He finds it, not the police.
That's the story that was, moreover, the subject of many studies the order of psychoanalytic thinking. Among the disciples of Dr. Jacques Lacan says that for any whom the letter is the unconscious. "The bottom line human drama, and in particular of all theatrical drama, is that there are links, knots, a covenant," says Lacan.
The Purloined Letter then becomes a trump card and the police did not find it because they do not know what a letter. And I do not know why they are cops, "All legitimate power, like any power, is based on the symbol."
What happens, says Lacan, is that only in the dimension of truth may be something hidden. "In reality, the idea of \u200b\u200ba cache is Delusional: as far as anyone has been to bring something to the bowels of the earth, that something or is hidden, because if that someone came up to you to get you there too. You can only hide that which belongs to the order of truth. It is the truth that is hidden, not the letter. For the police the truth does not matter, for them there is only reality, and therefore do not see anything. "Auguste Dupin gives
If the letter is that he has thought a bit about the symbol and truth. The police generally do not have that sensibility, do not capture the subtleties of human behavior. Sometimes a suicide letter is false not because of what he says but by what is not says. Or for the discrepancy between his style and the deceased, who would not express it that way. But police did not have to know matters of style.
Many times we have things in front of our noses and we do not. Examples: Falcon 1971. Clearly, all are cut from the same cloth. Everyone has a mass age, 23 years or less and measure the same thing. There are fat or thin. They wear the same clothing. If someone had recruited from the lumpen youth it is natural that there would come up with very different physical types, with different weights and measures. We did not see, then, something that is there in all the photographs: the rappers straight out of training regiment. Other evidence
invisible: Carlos Ahumada suitcases full of millions of dollars. Where them out? She sent an aide to buy twenties and fifties to the gearboxes of the Zona Rosa? Why did not Mexican pesos? Only the candor and innocence of General Macedo de la Concha, Attorney few years ago and now a diplomat in Italy, prevented in those suitcases saw the unmistakable stamp of its origin. Another obvious
invisible, but what happens before our eyes all the days: the insane, stupid war in Iraq. There was in their territory as nuclear or chemical weapons. There were not or will find. They had not attacked the United States Iraqis. But the invasion was made by the Americans and British, who have only the dead on their side (a little more and 2 000 marines, say) and are not counting more than 100 000 civilians dead, regardless of mutilated survivors forever.
The most effective, therefore, is to commit the crimes before the whole world. 
All
After losing a lot of things, find them here or there, one could be instructed not random but very often something that can happen: the thing is lost under our noses. So if I lose something, a book in the chaotic library, the first thing I do is stand in front of the bookstore and see what lies in front me. And there is.
Where does this attitude? In a story that Edgar Allan Poe, the inventor of the detective story, wrote in 1848 titled "The Purloined Letter" and has passed into history as an apologist to understand the curious idea that the best way to hide a thing putting it in front of everyone. I for one think that this story also shows us that we often have things under our noses and we do not.
What famous murder this circumstance that in the light of day, at six in the afternoon, in front of a crowd that comes and goes Insurgentes Avenue, before dozens of witnesses, a gunman shot him lace his victim? This was not the only mystery that emanated from the death of Manuel Buendia in 1984 per another one of his most subtle. Why had to be done and when they could have completed in the darkness and into the open? Or venadeado? Mystery. Poe
fussy delayed talks on the police office, ie the art of looking for things in a house and set that technically is recognized as the "area search" check boxes, examine the top of the table below verify whether a leg of it is perforated or not. The agent proceeds by elimination, but only if someone has decided to hide something.
In the story that concerns us is the wisdom of the character who decides not to hide it but leave it there on the coffee table in front of the passing everyone. However, Auguste Dupin, the friend who tells the story of Poe, by convention, if you see the cunning of another, discovers that the hiding and suddenly, just by having folds and wrinkles too feigned, stabs him above the eye table. And in a careless decision, replacing it with a facsimile. He finds it, not the police.
That's the story that was, moreover, the subject of many studies the order of psychoanalytic thinking. Among the disciples of Dr. Jacques Lacan says that for any whom the letter is the unconscious. "The bottom line human drama, and in particular of all theatrical drama, is that there are links, knots, a covenant," says Lacan.
The Purloined Letter then becomes a trump card and the police did not find it because they do not know what a letter. And I do not know why they are cops, "All legitimate power, like any power, is based on the symbol."
What happens, says Lacan, is that only in the dimension of truth may be something hidden. "In reality, the idea of \u200b\u200ba cache is Delusional: as far as anyone has been to bring something to the bowels of the earth, that something or is hidden, because if that someone came up to you to get you there too. You can only hide that which belongs to the order of truth. It is the truth that is hidden, not the letter. For the police the truth does not matter, for them there is only reality, and therefore do not see anything. "Auguste Dupin gives
If the letter is that he has thought a bit about the symbol and truth. The police generally do not have that sensibility, do not capture the subtleties of human behavior. Sometimes a suicide letter is false not because of what he says but by what is not says. Or for the discrepancy between his style and the deceased, who would not express it that way. But police did not have to know matters of style.
Many times we have things in front of our noses and we do not. Examples: Falcon 1971. Clearly, all are cut from the same cloth. Everyone has a mass age, 23 years or less and measure the same thing. There are fat or thin. They wear the same clothing. If someone had recruited from the lumpen youth it is natural that there would come up with very different physical types, with different weights and measures. We did not see, then, something that is there in all the photographs: the rappers straight out of training regiment. Other evidence
invisible: Carlos Ahumada suitcases full of millions of dollars. Where them out? She sent an aide to buy twenties and fifties to the gearboxes of the Zona Rosa? Why did not Mexican pesos? Only the candor and innocence of General Macedo de la Concha, Attorney few years ago and now a diplomat in Italy, prevented in those suitcases saw the unmistakable stamp of its origin. Another obvious
invisible, but what happens before our eyes all the days: the insane, stupid war in Iraq. There was in their territory as nuclear or chemical weapons. There were not or will find. They had not attacked the United States Iraqis. But the invasion was made by the Americans and British, who have only the dead on their side (a little more and 2 000 marines, say) and are not counting more than 100 000 civilians dead, regardless of mutilated survivors forever.
The most effective, therefore, is to commit the crimes before the whole world.
Prom Dress Print Catalog Request
literary utopia
than
literature bores me, and I hate it because
bother me or holding me back, but apparently only
.
-Franz Kafka, Diaries
That literature in practice can be a substitute for religion and philosophy is not a problem and it is very plausible in the case of Jorge Luis Borges and, above all, that of Franz Kafka, to whom none of this world's interest that no out literature. However, for the American philosopher Richard Rorty (born in New York in 1931) occupies a literary culture in our time-for anyone-a place so full and meaningful as that before humans gave to science and the world faith or ideas systematized. Ie as weltanchau literature, as a world outlook. As Will and Representation of the world and life. What I also wanted
Kafka is saying that he had no patience for family life:
"I do not have the slightest interest in family life, at best I could be interesting as a spectator. I feel a total disregard for my family, and I believe the visits to my actual attacks person. "
Rorty in his writings he referred to conduct that has to do with civil coexistence, respect, tolerance and human rights. But in a series of lectures held at Stanford University in November 2000, the pragmatist philosopher heralded the decline of the "redemptive truth" and the advent of literary culture.
"Intellectual progress in the West, from the Renaissance to our days, has developed through three basic stages, in which intellectuals have sought answers in God first, then and now philosophy in literature. "
Rorty's reasoning, as befits his office, abounds in circumlocutions of philosophical methodology, but no longer understandable to the reader not trained in that discipline that explores the what and why of things.
Expand the limits of human imagination is a goal that may well replace the "obedience to a divine" within a religious culture or the "search for what is really real" in a philosophical culture, and it's less dangerous. Literature proceeds with humble truths, not definitive.
To illustrate the imagined utopia, Rorty invited to reread the trial of Oscar Wilde The Soul of Man under socialism, which states that the goal of a just global society is to allow "people are able to live life choice, "as long as this does not undermine" the chance that others can do the same. " In this ideal world is not necessary to agree on "the meaning of life" or if "life is worth or not worth living" to create conditions that enable everyone to live their moral convictions. However, a literary culture otherwise not be the only viable or dominant simply because there is no room for any dominant culture.
literary culture in religion and philosophy appear as literary genres (as suggested Borges: religion as a variant of fantasy literature) and, as such, are optional. If the intellectuals of the previous cultures preferred reading dive into inspirational works or philosophical treatises, the most widely read works by the members of the literary culture rather belong to other genres: the novel, poetry or drama. But this preference is not due to any value judgments but rather to the fact that the literary intellectuals aspire to a deeper truth, or more subtle in the field of fiction, poetry or comedy, though not infrequently sought inspiration in the works of the past, philosophy or religious works.
literary utopia Richard Rorty may be therefore, as the connotation given to the notions of "literature" and "literary culture." A culture that has replaced religion and philosophy finds redemption in dealing with other human beings, not necessarily directly. This relationship may act as intermediary devices such as books and buildings, paintings and songs that suggest other possibilities of being human, since redemption can also come from the relationship one with something that is not just another human creation.
Kierkegaard was right when he said that philosophy began to establish itself as a rival to religion when Socrates suggested that self-knowledge was a knowledge of God, that we did not need help from another person because the truth was already in us. But literature began to position itself as an alternative to philosophy when writers like Miguel de Cervantes and Shakespeare began to suspect that humans are so different that it is absurd to assume that all carry within them the same truth.
And so one of the many writers of our time came to understand his own truth when asked what he believed.
I do not believe in anything he said. I have no political ideology, I'm not no party, I have no religion and I am an agnostic rather than atheist because I can not say that God does not exist. The only thing I think is in the literature. And death. That's all there: the death and literature. I believe in Chekhov, in Proust, Cervantes, Borges, Kafka and Albert Camus, and talk to my dead these whenever I can. They do believe.
Moreover, the concept of "literatosis" put into circulation by the Uruguayan novelist Juan Carlos Onetti, is a kind of disease that many writers fall or addicted to literature it is a condition whereby it converts the literature in our own religion, our martyrdom and our absolutimsmo, and the tendency to prefer reading the author as "more obviously literary, and converting the office to write his own destiny . 
than
literature bores me, and I hate it because
bother me or holding me back, but apparently only
.
-Franz Kafka, Diaries
That literature in practice can be a substitute for religion and philosophy is not a problem and it is very plausible in the case of Jorge Luis Borges and, above all, that of Franz Kafka, to whom none of this world's interest that no out literature. However, for the American philosopher Richard Rorty (born in New York in 1931) occupies a literary culture in our time-for anyone-a place so full and meaningful as that before humans gave to science and the world faith or ideas systematized. Ie as weltanchau literature, as a world outlook. As Will and Representation of the world and life. What I also wanted
Kafka is saying that he had no patience for family life:
"I do not have the slightest interest in family life, at best I could be interesting as a spectator. I feel a total disregard for my family, and I believe the visits to my actual attacks person. "
Rorty in his writings he referred to conduct that has to do with civil coexistence, respect, tolerance and human rights. But in a series of lectures held at Stanford University in November 2000, the pragmatist philosopher heralded the decline of the "redemptive truth" and the advent of literary culture.
"Intellectual progress in the West, from the Renaissance to our days, has developed through three basic stages, in which intellectuals have sought answers in God first, then and now philosophy in literature. "
Rorty's reasoning, as befits his office, abounds in circumlocutions of philosophical methodology, but no longer understandable to the reader not trained in that discipline that explores the what and why of things.
Expand the limits of human imagination is a goal that may well replace the "obedience to a divine" within a religious culture or the "search for what is really real" in a philosophical culture, and it's less dangerous. Literature proceeds with humble truths, not definitive.
To illustrate the imagined utopia, Rorty invited to reread the trial of Oscar Wilde The Soul of Man under socialism, which states that the goal of a just global society is to allow "people are able to live life choice, "as long as this does not undermine" the chance that others can do the same. " In this ideal world is not necessary to agree on "the meaning of life" or if "life is worth or not worth living" to create conditions that enable everyone to live their moral convictions. However, a literary culture otherwise not be the only viable or dominant simply because there is no room for any dominant culture.
literary culture in religion and philosophy appear as literary genres (as suggested Borges: religion as a variant of fantasy literature) and, as such, are optional. If the intellectuals of the previous cultures preferred reading dive into inspirational works or philosophical treatises, the most widely read works by the members of the literary culture rather belong to other genres: the novel, poetry or drama. But this preference is not due to any value judgments but rather to the fact that the literary intellectuals aspire to a deeper truth, or more subtle in the field of fiction, poetry or comedy, though not infrequently sought inspiration in the works of the past, philosophy or religious works.
literary utopia Richard Rorty may be therefore, as the connotation given to the notions of "literature" and "literary culture." A culture that has replaced religion and philosophy finds redemption in dealing with other human beings, not necessarily directly. This relationship may act as intermediary devices such as books and buildings, paintings and songs that suggest other possibilities of being human, since redemption can also come from the relationship one with something that is not just another human creation.
Kierkegaard was right when he said that philosophy began to establish itself as a rival to religion when Socrates suggested that self-knowledge was a knowledge of God, that we did not need help from another person because the truth was already in us. But literature began to position itself as an alternative to philosophy when writers like Miguel de Cervantes and Shakespeare began to suspect that humans are so different that it is absurd to assume that all carry within them the same truth.
And so one of the many writers of our time came to understand his own truth when asked what he believed.
I do not believe in anything he said. I have no political ideology, I'm not no party, I have no religion and I am an agnostic rather than atheist because I can not say that God does not exist. The only thing I think is in the literature. And death. That's all there: the death and literature. I believe in Chekhov, in Proust, Cervantes, Borges, Kafka and Albert Camus, and talk to my dead these whenever I can. They do believe.
Moreover, the concept of "literatosis" put into circulation by the Uruguayan novelist Juan Carlos Onetti, is a kind of disease that many writers fall or addicted to literature it is a condition whereby it converts the literature in our own religion, our martyrdom and our absolutimsmo, and the tendency to prefer reading the author as "more obviously literary, and converting the office to write his own destiny .
Heapsize Condition Zero
Death always takes the shape of the bedroom that contains us poets and storytellers
As you know very well the religious reader of these notes the title comes from a famous poem by Xavier Villaurrutia, I remember very well if your book Nostalgia death. The poet's verbal statement explains itself and virtually no support for interpretation. What is here and now wants to be reflected is the subject of death and obsession of the writers and subject on which no human is alien. The thought of death, said Alberto Savinio, is thought itself. Will there be a day throughout our existence that we do this?
But not only the poets have tried to unravel the mystery indevelable. Also scientists, and better when they can write. This is the case of Dr. Francisco Gonzalez Crussi, a Mexican, a pathologist, who lives in Chicago and professor of pathology at Northwestern University and head of the Division of Pathology at Children's Memorial Hospital. I think he was born in 1939, but unforgivably Humberto Musacchio Gonzalez Crussi not include in its Millennia of Mexico, and I can not substantiate. And
Gonzalez Crussi is one of those Mexican best known and recognized in the world in their own country, perhaps because at home we have failed to appreciate it. Most of his books are in English and French and just one of them, Notes of an anatomist, whose first edition is from 1986, was released in Mexico, published by the Fund in 1990. You go there to Gonzalez Crussi good pen:
"was an Indian American mestizo, a member of do not know what tribe. Two students, a morgue assistant and I will strive hard to achieve long drag his body to the autopsy table. And placed in this, his body went beyond the sides bear it, and his arms hung like two oaks felled thicker than the average person's thighs. "
is seen immediately that describe how a novelist known expert. So does when he says that in Canada after an autopsy of one Orlando, victim of a hack, had just been cut in half.
no longer strange to hear, because what he writes is as resonant as a professional plastic-death (so to speak) who lives and works among the corpses emit some views on the eternal theme. In Notes of an anatomist, who prefaced Dr. Ruy Perez Tamayo great devotion and admiration for his colleague and friend, Gonzalez Crussi deals with the embalming, the problem of twins (the twins, twins), the dead who are still living, some appendages of the human body, myiasis, the body seen from outside the dead as a trade, child abuse, teratology and male genitalia.
Although it seems a case of editorial justice delayed, we must not grudge the publisher Verdehalago merits (and Alfredo Herrera Patiño) who has worked to publicize in Mexico the other important books of Francisco Gonzalez Crussi: Mors sudden, translated Veronica Murguia masterfully. There are other texts in the catalog Verdehalago as Day of the Dead and The five senses, but particularly in this, Mors sudden (or "sudden death", I would say) goes head over death. (I say that another of his books listed: Parting is die a little, his autobiography, published by the UNAM.)
"Death is in essence INCONTEMPLAR, is unthinkable and beyond all possibility of description."
You could say that the only plot, or the only argument, Gonzalez Crussi in all his books is death. But when he develops his "Essay on three forms of sudden death "hits bottom feels. What are the three ways of sudden death?
by lightning, from suffocation, not know why. Interestingly
the beam can not come up. But from below, as was the case with several adults found in the labyrinth of subway system in New York and were taken to the morgue. Vague. Homeless. Teporochos. Since they were found on or near the tracks, hideously mutilated, it was the hypothesis of suicide or murder. It was all very strange, because such individuals are moved through the underground system like fish in water. Yet an anatomical finding common to all the victims said the mechanism of their deaths: the penis of each of them was completely charred. They had been defending
giving frequent sips of cold to their bottles of liquor. Since the drink frequently and cold temperature stimulated urinary function, perhaps from the top of the platform jets dropped their urine which formed a continuous arc from their bladders to the subway tracks. And at the moment when the jet touched the way, the thousands and thousands of volts of electricity needed to transport all the people of New York found an alternative path in the salt-rich liquid and flowed at a fraction of a second to the bodies of unsuspecting beggars.
Diagnosis: struck by lightning, underground.
In his ideas about the death by suffocation, Gonzalez Crussi think in the air and their relationship are life and death.
"Our life is like the wind, transient and insubstantial." 
As you know very well the religious reader of these notes the title comes from a famous poem by Xavier Villaurrutia, I remember very well if your book Nostalgia death. The poet's verbal statement explains itself and virtually no support for interpretation. What is here and now wants to be reflected is the subject of death and obsession of the writers and subject on which no human is alien. The thought of death, said Alberto Savinio, is thought itself. Will there be a day throughout our existence that we do this?
But not only the poets have tried to unravel the mystery indevelable. Also scientists, and better when they can write. This is the case of Dr. Francisco Gonzalez Crussi, a Mexican, a pathologist, who lives in Chicago and professor of pathology at Northwestern University and head of the Division of Pathology at Children's Memorial Hospital. I think he was born in 1939, but unforgivably Humberto Musacchio Gonzalez Crussi not include in its Millennia of Mexico, and I can not substantiate. And
Gonzalez Crussi is one of those Mexican best known and recognized in the world in their own country, perhaps because at home we have failed to appreciate it. Most of his books are in English and French and just one of them, Notes of an anatomist, whose first edition is from 1986, was released in Mexico, published by the Fund in 1990. You go there to Gonzalez Crussi good pen:
"was an Indian American mestizo, a member of do not know what tribe. Two students, a morgue assistant and I will strive hard to achieve long drag his body to the autopsy table. And placed in this, his body went beyond the sides bear it, and his arms hung like two oaks felled thicker than the average person's thighs. "
is seen immediately that describe how a novelist known expert. So does when he says that in Canada after an autopsy of one Orlando, victim of a hack, had just been cut in half.
no longer strange to hear, because what he writes is as resonant as a professional plastic-death (so to speak) who lives and works among the corpses emit some views on the eternal theme. In Notes of an anatomist, who prefaced Dr. Ruy Perez Tamayo great devotion and admiration for his colleague and friend, Gonzalez Crussi deals with the embalming, the problem of twins (the twins, twins), the dead who are still living, some appendages of the human body, myiasis, the body seen from outside the dead as a trade, child abuse, teratology and male genitalia.
Although it seems a case of editorial justice delayed, we must not grudge the publisher Verdehalago merits (and Alfredo Herrera Patiño) who has worked to publicize in Mexico the other important books of Francisco Gonzalez Crussi: Mors sudden, translated Veronica Murguia masterfully. There are other texts in the catalog Verdehalago as Day of the Dead and The five senses, but particularly in this, Mors sudden (or "sudden death", I would say) goes head over death. (I say that another of his books listed: Parting is die a little, his autobiography, published by the UNAM.)
"Death is in essence INCONTEMPLAR, is unthinkable and beyond all possibility of description."
You could say that the only plot, or the only argument, Gonzalez Crussi in all his books is death. But when he develops his "Essay on three forms of sudden death "hits bottom feels. What are the three ways of sudden death?
by lightning, from suffocation, not know why. Interestingly
the beam can not come up. But from below, as was the case with several adults found in the labyrinth of subway system in New York and were taken to the morgue. Vague. Homeless. Teporochos. Since they were found on or near the tracks, hideously mutilated, it was the hypothesis of suicide or murder. It was all very strange, because such individuals are moved through the underground system like fish in water. Yet an anatomical finding common to all the victims said the mechanism of their deaths: the penis of each of them was completely charred. They had been defending
giving frequent sips of cold to their bottles of liquor. Since the drink frequently and cold temperature stimulated urinary function, perhaps from the top of the platform jets dropped their urine which formed a continuous arc from their bladders to the subway tracks. And at the moment when the jet touched the way, the thousands and thousands of volts of electricity needed to transport all the people of New York found an alternative path in the salt-rich liquid and flowed at a fraction of a second to the bodies of unsuspecting beggars.
Diagnosis: struck by lightning, underground.
In his ideas about the death by suffocation, Gonzalez Crussi think in the air and their relationship are life and death.
"Our life is like the wind, transient and insubstantial."
Is It Ok To Use Steam Room And Sauna
In these days of April, on Thursday afternoon and in the Casa del Poeta (the same Ramon Lopez Velarde lived until his death in Avenida Alvaro Obregón), have been holding meetings in which the narrators recount their experience of poetry.
The idea of \u200b\u200bAntonio del Toro has been to invite storytellers or novelists to share with the public what meaning has been reading poetry in shaping his style. Beyond the common notion that poetry is above all a worldview, a way of seeing and recreating the experience, not only what is transmitted in a free poem or perfectly measured, the narrator must have poetry how they were being helpful and enriching to express themselves better in writing.
I happened to stand before an audience very attentive and knowledgeable on Thursday of last week, sharing the table with Berger and Veronica Garcia Ana Munguia. The first thing that struck me was that for me poetry has always been the queen of literary genres, The best manage to hit certain scents, such as love, life, death, madness, perhaps the power. I've always been impressed by the capacity of some poets say more with less, to say everything in a few lines, beyond the mere play of words.
But as for my personal relationship with the poetry I can say is that from the beginning, when he attended the literary workshop of Juan José Arreola in 1964, poetry reading with me always in my prose works. And is that what was special about Arreola-workshop I attended both storytellers, poets, was that the emphasis was on the sentence or, rather, in the cadence of the sentence. Both reading Arreola aloud as intimate and personal reading of poems will help us to educate the ear.
From what was in meetings with Arreola was to cultivate a sensitivity to language, to meet the sound of words and not just its meaning, rather than weigh the "overall effect" that could, for example , very long text, or a novel. Arreola no one accompanied him throughout the task of bringing to an end a novel. He had no patience and was not the style of your shop. The phrase was what mattered. And speaking of the cadence of the sentence what we were calling was a musical concept. Very conscious without having alluded to the rhythm and pace-notions music too,, regularity in the combination of sounds and thus, little by little and after many pages written and rewritten, we start believing that we had something of a budding style, very personal prose, more or less fluid and mostly well-modulated.
This literary evening held on Thursday at the Casa del Poeta was not to define poetry or to outline some of the many theories that examine the poetic phenomenon. What came to mind was rather referring to the poets who had attended a more sympathy and admiration throughout his life. By the authors to which I referred would appear that I have imported those who believe in the clarity of the poem rather than the equally valid in darkness, as Ferrater Gabriel, Carlos Barral, Claudio Rodriguez and Jaime Gil de Biedermann. The latter practiced what might be called a poetry of experience. And that is why he liked to quote the English critic Ivor Winters
"The artistic process is a moral evaluation of human experience, through a technique that makes possible a more accurate assessment than any other. The poet tries to understand his experience in rational terms, setting his mind, and simultaneously establish, by means of the feelings we attach to words, the type and degree of emotion to be motivated by this understanding. "
However, I have also taken into account a conception of poetry wider, Claudio Rodriguez, for whom poetic creation can often start from a specific personal experience, but also, sometimes, the experiences of others, assimilated. Processes poetic thought Claudio Rodriguez, also depend on the experience of language expressed because poetry is an adventure of language. The words are created not only thought but the emotion and contemplation sensory.
The more you can pretend better results, as in the case of "the paradox of comedian "of Diderot.
What happens quite often is that the poet does not feel what he says, but how to say it is capable of moving. It is likely that Quevedo, who never had a great capacity of love, has not felt the love poems he wrote. However, the poem weapon creates an emotion. What matters is results. The poet Shelley that matters is the feeling you experience when seen flying a lark. Lark itself does not care much. It does not describe the lark, describes his excitement.
What Boots Does Kate Moss Wear
Cervantes, our contemporary
The first novel that was written about addiction is
Don Quixote.
-Susan Sontag
This year marks four years since he came off the press the first copy of the first part of The Ingenious Hidalgo Don Quixote de la Mancha. Miguel de Cervantes wrote the first volume throughout the year I turned 57 in 1605, and could not imagine then that this work was inventing the modern novel. The data is not idle if you think of the number of English speakers who represent less than the English against the English and recreate now a hybrid of American English, especially in the sentence structure and use of colloquial expressions.
By fusing the historical narrative and dialogue of theater, Cervantes invented in our language and history (in 1605) the novel itself, which is not argument, "says Javier Marías," but rather erratic and divagational, very free in their dispersal, their wandering and wandering.
At 68 years, ten years after the first volume and in 1615, Cervantes wrote and published the second and final part of the great classic, when the English conquistadors and had 95 years in New Spain (Cervantes was born in 1547 and is contemporary Hernán Cortes). And such is the freedom of his imagination that allowed all sorts of digressions and "novel within the novel." So free was not the assertion of literary historians who argue that in Don Quixote are now all the "findings" that has experienced the contemporary novel in the twentieth century with the works of Marcel Proust, James Joyce, Virginia Woolf, William Faulkner, and others.
Everything is knowingly read Don Quixote.
Mexicans have no idea of \u200b\u200bthe number of phrases we use every day from Don Quixote.
Sayings, proverbs, phrases coined, curses and greetings, exclamations, insults and reproaches for example. "A fleeing enemy, the Silver Bridge," for example.
not put them in quotes because the following words belong to us all:
to the wise, a few words.
and God helps those who help themselves. I Andom
hot people laugh.
When Rome, do as the Romans.
the abundance of the heart speaks the language.
goes around comes around. The occasion paint
bald.
who snuggles up to good tree, good shade shelters him.
A bird in hand flying vulture.
Today for you and me tomorrow.
One swallow does not make a summer.
not all gold that glitters.
A bad calls another.
worth as much as you.
Sight, the heart does not break.
mint was not the hangman's rope in the house.
Furthermore, editions of Don Quixote has been abridged or summarized by allowed writers such as Arturo Uslar-Venezuelan Pietri (the red lances) and the English Ramón Gómez Serna (that of greguerías). Because Don Quixote is not difficult to summarize: just take a lot of digressions and their tales interspersed in the overall story or the "novel within the novel." We can only read it following the adventures of Don Quixote and Sancho, but as we said before, and these convoluted narrative-that the narrator leaving for a while away and then come back, is one of the antecedents of the modern novel (and by extension, the language of film they already have in mind the audience).
The more you grow up more like Don Quixote, perhaps because the novel is an old art. It is the same Don Quixote at age 23 we read that the 63 year old eyes, eyes that are less well but they see and read more.
Alonso Quijano, the character who was addicted to the novels of chivalry and gets to represent another character, the Amadis of Gaul, pretending to be crazy, just was nearing 50. However, it is difficult to believe in the "madness" of a gentleman as coherent speech and much wisdom.
Really Don Quixote was mad? Maybe I was in the conception of madness in Spain in 1605 had, but not where we have defined psychiatric experience twentieth century. Nothing in Don Alonso Quijano (the creature) and Don Quixote (the character) a radical split. Don Alonso does not break with the dimension of reality as psychotic. Always keep in touch with reality and Sancho is the ground wire. It would say that Don Alonso Quijano is playing the other, the knight errant, and feigns madness as Henry IV by Luigi Pirandello. Pretends to be mad because you are giving to the fantasy that all men crave and desire to live other lives. Alonso Quijano is not afraid of the imagination or the "crazy house", the fantasy, on the contrary, is entrusted to her because she is aware that we live in the realm of subjectivity. Everyone sees in this world (especially in politics) the film for you.
Roger Bartra, our most notable melancolicólogo says that Don Quixote is a melancholy character. "His melancholy was the cause of his madness as much of your health. Don Quixote does an imitation, not a praise of folly. "Just as in Christianity seeks to imitate Christ, Alonso imitating Amadis of Gaul. "Long live the memory of Amadis," he exclaims, "and will be followed by Don Quixote at all what I can." Bartra Don Quixote feel that there was a real change, almost in the biological sense of the term. It is not easy to explain because His melancholy is enrolled in a mock ritual. "It is not known if the quixotic melancholy mock expresses a real sadness or merely a clever invention."
An example of Cervantes as an author and narrator of Don Quixote moves in several planes of reality is what is put on early chapters of Part Two: Alonso Quijano dress the character of Don Quixote speaks of a writer Miguel de Cervantes who wrote a book called The Ingenious Gentleman Don Quixote de la Mancha. And the discussion with both Sancho and Don Quixote also show receipt of Avellaneda, the anonymous author who wanted to make a second part of Cervantes mocking and criticizing him mercilessly. With
this game of mirrors, between reality and fiction, Cervantes is still typically Pirandellian, ie set the meeting between the author and his characters.
In that sense, the perception is most interesting about the dual personality of Don Quijote is owed to Américo Castro. The noted English historian, so battered by Borges, believes that Don Quixote is a character Pirandellian avant la lettre:
As was established earlier in the second half of the novel Don Quixote and Sancho discuss a book that is circulating out there called The Ingenious Hidalgo Don Quixote de la Mancha and complain about its author.
This is not only the conversion of the creature in character but dialogue between fictional characters and their creator, a theme central to the work of the Sicilian, Six Characters in Search of an Author. In 1605 Cervantes was Pirandellian, three centuries before there Pirandello and present his vision of human beings, very consistent with the mode of being of the people of his village, Agrigento, Sicily.
And to top it, to return to play, when Don Quixote and Sancho gives them come to Barcelona to visit a printing press which is printing a novel. And that book in press is the novel in which they live as characters: The Ingenious Hidalgo Don Quixote de la Mancha.
between reality and fantasy, the Quixote claims for itself an existence both real and imaginary. And power do not lose sleep.
If you stop to look up the word mafia in Don Quixote can not find and references to power are almost nonexistent. As that Cervantes was not very interested the subject. Just as Don Quixote Sancho fires will govern the island Barataria slipped some tips on the art of government that somehow make a mockery of the English nobility.
Sancho wants to know what he knows to be a governor, "for being the sweetest thing to command and be obeyed."
"Never be guided by the law of lace, which usually have much room to the ignorant who claim to Agus.
"Hallen more compassion in you tears of the poor, but no justice , than the rich.
"Do not eat garlic or onions, because they do not take the smell your villanería.
"You shall dress the part of counsel and of captain in the island because I give you both are necessary weapons such as bills and letters, such as weapons.
"With respect to how you should govern yourself and home, Sancho, the first thing we request is that you are clean, and you cut the nails, not let them grow, as some do, who has given his ignorance understand that long nails hands adorn them, as if the excrement and moreover that they were a cut stop being before lagartijero kestrel clutches. "
After their experience in the wilderness of power, in which he knew would be fed with tubers, Sancho feels that the rule is tedious. But eager to leave his kingdom, argues that as there was not corrupted:
"... the more you leaving me naked, as I leave, there is no need another sign to mean that I have governed like an angel." 
The first novel that was written about addiction is
Don Quixote.
-Susan Sontag
This year marks four years since he came off the press the first copy of the first part of The Ingenious Hidalgo Don Quixote de la Mancha. Miguel de Cervantes wrote the first volume throughout the year I turned 57 in 1605, and could not imagine then that this work was inventing the modern novel. The data is not idle if you think of the number of English speakers who represent less than the English against the English and recreate now a hybrid of American English, especially in the sentence structure and use of colloquial expressions.
By fusing the historical narrative and dialogue of theater, Cervantes invented in our language and history (in 1605) the novel itself, which is not argument, "says Javier Marías," but rather erratic and divagational, very free in their dispersal, their wandering and wandering.
At 68 years, ten years after the first volume and in 1615, Cervantes wrote and published the second and final part of the great classic, when the English conquistadors and had 95 years in New Spain (Cervantes was born in 1547 and is contemporary Hernán Cortes). And such is the freedom of his imagination that allowed all sorts of digressions and "novel within the novel." So free was not the assertion of literary historians who argue that in Don Quixote are now all the "findings" that has experienced the contemporary novel in the twentieth century with the works of Marcel Proust, James Joyce, Virginia Woolf, William Faulkner, and others.
Everything is knowingly read Don Quixote.
Mexicans have no idea of \u200b\u200bthe number of phrases we use every day from Don Quixote.
Sayings, proverbs, phrases coined, curses and greetings, exclamations, insults and reproaches for example. "A fleeing enemy, the Silver Bridge," for example.
not put them in quotes because the following words belong to us all:
to the wise, a few words.
and God helps those who help themselves. I Andom
hot people laugh.
When Rome, do as the Romans.
the abundance of the heart speaks the language.
goes around comes around. The occasion paint
bald.
who snuggles up to good tree, good shade shelters him.
A bird in hand flying vulture.
Today for you and me tomorrow.
One swallow does not make a summer.
not all gold that glitters.
A bad calls another.
worth as much as you.
Sight, the heart does not break.
mint was not the hangman's rope in the house.
Furthermore, editions of Don Quixote has been abridged or summarized by allowed writers such as Arturo Uslar-Venezuelan Pietri (the red lances) and the English Ramón Gómez Serna (that of greguerías). Because Don Quixote is not difficult to summarize: just take a lot of digressions and their tales interspersed in the overall story or the "novel within the novel." We can only read it following the adventures of Don Quixote and Sancho, but as we said before, and these convoluted narrative-that the narrator leaving for a while away and then come back, is one of the antecedents of the modern novel (and by extension, the language of film they already have in mind the audience).
The more you grow up more like Don Quixote, perhaps because the novel is an old art. It is the same Don Quixote at age 23 we read that the 63 year old eyes, eyes that are less well but they see and read more.
Alonso Quijano, the character who was addicted to the novels of chivalry and gets to represent another character, the Amadis of Gaul, pretending to be crazy, just was nearing 50. However, it is difficult to believe in the "madness" of a gentleman as coherent speech and much wisdom.
Really Don Quixote was mad? Maybe I was in the conception of madness in Spain in 1605 had, but not where we have defined psychiatric experience twentieth century. Nothing in Don Alonso Quijano (the creature) and Don Quixote (the character) a radical split. Don Alonso does not break with the dimension of reality as psychotic. Always keep in touch with reality and Sancho is the ground wire. It would say that Don Alonso Quijano is playing the other, the knight errant, and feigns madness as Henry IV by Luigi Pirandello. Pretends to be mad because you are giving to the fantasy that all men crave and desire to live other lives. Alonso Quijano is not afraid of the imagination or the "crazy house", the fantasy, on the contrary, is entrusted to her because she is aware that we live in the realm of subjectivity. Everyone sees in this world (especially in politics) the film for you.
Roger Bartra, our most notable melancolicólogo says that Don Quixote is a melancholy character. "His melancholy was the cause of his madness as much of your health. Don Quixote does an imitation, not a praise of folly. "Just as in Christianity seeks to imitate Christ, Alonso imitating Amadis of Gaul. "Long live the memory of Amadis," he exclaims, "and will be followed by Don Quixote at all what I can." Bartra Don Quixote feel that there was a real change, almost in the biological sense of the term. It is not easy to explain because His melancholy is enrolled in a mock ritual. "It is not known if the quixotic melancholy mock expresses a real sadness or merely a clever invention."
An example of Cervantes as an author and narrator of Don Quixote moves in several planes of reality is what is put on early chapters of Part Two: Alonso Quijano dress the character of Don Quixote speaks of a writer Miguel de Cervantes who wrote a book called The Ingenious Gentleman Don Quixote de la Mancha. And the discussion with both Sancho and Don Quixote also show receipt of Avellaneda, the anonymous author who wanted to make a second part of Cervantes mocking and criticizing him mercilessly. With
this game of mirrors, between reality and fiction, Cervantes is still typically Pirandellian, ie set the meeting between the author and his characters.
In that sense, the perception is most interesting about the dual personality of Don Quijote is owed to Américo Castro. The noted English historian, so battered by Borges, believes that Don Quixote is a character Pirandellian avant la lettre:
As was established earlier in the second half of the novel Don Quixote and Sancho discuss a book that is circulating out there called The Ingenious Hidalgo Don Quixote de la Mancha and complain about its author.
This is not only the conversion of the creature in character but dialogue between fictional characters and their creator, a theme central to the work of the Sicilian, Six Characters in Search of an Author. In 1605 Cervantes was Pirandellian, three centuries before there Pirandello and present his vision of human beings, very consistent with the mode of being of the people of his village, Agrigento, Sicily.
And to top it, to return to play, when Don Quixote and Sancho gives them come to Barcelona to visit a printing press which is printing a novel. And that book in press is the novel in which they live as characters: The Ingenious Hidalgo Don Quixote de la Mancha.
between reality and fantasy, the Quixote claims for itself an existence both real and imaginary. And power do not lose sleep.
If you stop to look up the word mafia in Don Quixote can not find and references to power are almost nonexistent. As that Cervantes was not very interested the subject. Just as Don Quixote Sancho fires will govern the island Barataria slipped some tips on the art of government that somehow make a mockery of the English nobility.
Sancho wants to know what he knows to be a governor, "for being the sweetest thing to command and be obeyed."
"Never be guided by the law of lace, which usually have much room to the ignorant who claim to Agus.
"Hallen more compassion in you tears of the poor, but no justice , than the rich.
"Do not eat garlic or onions, because they do not take the smell your villanería.
"You shall dress the part of counsel and of captain in the island because I give you both are necessary weapons such as bills and letters, such as weapons.
"With respect to how you should govern yourself and home, Sancho, the first thing we request is that you are clean, and you cut the nails, not let them grow, as some do, who has given his ignorance understand that long nails hands adorn them, as if the excrement and moreover that they were a cut stop being before lagartijero kestrel clutches. "
After their experience in the wilderness of power, in which he knew would be fed with tubers, Sancho feels that the rule is tedious. But eager to leave his kingdom, argues that as there was not corrupted:
"... the more you leaving me naked, as I leave, there is no need another sign to mean that I have governed like an angel."
Retirement Free Clipart
Interesting Wind and madness
With Madness is often associated with the wind, but also with the freedom and the passage of history.
1. In some villages, as in Cadaqués (Catalonia), states that cadaqueños are a little strange, but this has a meteorological explanation: that the north wind, the wind down from the Pyrenees-left to the people of the region a little toccata and fugue. Apart from the sirocco
throttling both Sicilians both dry and dusty wind coming up from the Sahara, "is known about the maddening wind from time to time falls northern California, it looks as Raymond Chandler one of his stories, "Red Wind":
"That night desert wind blowing. It was one of those Santa Ana winds, hot dry, ports running down the mountain, you stir the hair, put you on edge and meat, chicken. On nights and partying group always end in fights. And the docile wives palpate the edge of a knife and observe carefully the neck of her husband. "
Fernando Jordan, whom the wind depressed, in one of his reports of 1949 on the Baja California notes:" The winds threaten the stability of the houses and the camp. For hours tear cracks to the walls and wooden roofs, whistling slip through the cracks and hit the windows vibrating and trembling with fear. And in that eternal serenade what can a man thinking?
"What nerves can be maintained against the howling incólumnes in space and the moaning of the surf? How much and what kind of physical and moral strength to overcome imposing overwhelming passage of the clouds, crying, wet the fog and constant moaning winds? "
For something as Jordan said: Since the beginning of the century, at least one record of this circumstance Baja California weather. Writing about the monsoon, the French geographer Diguet Leon said in 1912:
"The action of the wind on vegetation it is too drying, the leaves of the trees that are resistant to heat of the sun soon dried his contact, in the human body also influences in a remarkable manner, primarily attacks the nervous system, causing irritation and congestion. "
2. But wind can also be a poetic image. See if the case of the young Russian writer Iveta Gerasimchuk, barely twenty years, which just won the essay contest that invited the city of Weimar (Germany) and the magazine Lettre International .
The title of the contest was "Unlocking the future of the past. Unlocking the past from the future "and original 2.481 competed in the six UN languages: English, French, Chinese, English, Arabic and Russian. The jury met several times during a year in New York, Paris, Moscow, Beirut, Amann, Berlin, Hainan and Mexico. No one imagined that the 43 finalists the winner would be a Russian girl of twenty years was imposed on professors and philosophers and essayists enshrined. Hermann
Tertsch, correspondent of El Pais in Weimar, tells us that the idea of \u200b\u200bthe International Essay Prize was trying to reflect on the past and present history in the life of societies and their future projects:
"Since the Commission for Truth and Justice in South Africa until the trial for Pinochet's extradition, since the publication of the roles of the East German secret service to review the role of French society during the Nazi occupation, has no intellectual debate been spilled so much ink in the decade now ending as the discussion about the past and its implications for the future. "
She essayist, a student at the Institute of International Relations in Moscow, envisioned a "Dictionary of Winds" (to be published in Mexico by Letras Libres) in which a brilliant adventure poetic proposal to discern the clashes between the forces of past and future in contemporary society.
Written in dictionary form, the paper explains various terms (some invented), and describes the clash between anemophile (worshipers of the wind) and writers (worshipers of the past).
Of the nearly 2,500 contestants trials, 205 were in English, and none was among the top ten. The organizers felt that the relationship of participants reflects the difficulty of Third World writers to access information. 600 works were presented in English (the language of the empire) and many others in German. The Chinese were 37.
"Dictionary of Winds" reaffirms, therefore, that in the genre that was circulated Michel de Montaigne between 1533 and 1592, the important thing is a metaphor, a poetic order link that summarizes and consolidates the guiding principle, as was evidently the case The Labyrinth of Solitude, by Octavio Paz.
Postscript: Sergio Pitol tells me that King Lear, Shakespeare, the wind dies. Adolfo Castanon reminds me of the poem "Wind" by Saint John Perse.
Ah, yes, very strong winds on the faces of the living!
While Edgar Valencia, from Xalapa, sent me this paragraph of Gaston Bachelard:
"Arguably, the raging wind is the symbol of pure anger, anger without object, without excuse. The great writers of the storm, as Joseph Conrad (Typhon, his short novel) have loved this aspect, the storm without preparation, without causing physical tragedy. Gradually the cliche has spent the image: we speak of the fury of the elements without experiencing its elemental power. The forest and the sea by the storm deranged overloaded sometimes simple dynamic image of the hurricane. With air violent can capture elemental fury. The wind, in its excess, is the anger that is everywhere and nowhere, born and reborn from itself, which turns and turns. The wind howls and threats, but only when it finds dust takes shape: visible, it becomes a sad misery. "
In short, we should also think about the role of wind in a story like" Luvina "by Juan Rulfo, who recreated the atmosphere above the Comala Pedro Páramo. In San Juan Rulfo Luvina-name taken from a Oaxacan village, the wind is in many ways, character. 
With Madness is often associated with the wind, but also with the freedom and the passage of history.
1. In some villages, as in Cadaqués (Catalonia), states that cadaqueños are a little strange, but this has a meteorological explanation: that the north wind, the wind down from the Pyrenees-left to the people of the region a little toccata and fugue. Apart from the sirocco
throttling both Sicilians both dry and dusty wind coming up from the Sahara, "is known about the maddening wind from time to time falls northern California, it looks as Raymond Chandler one of his stories, "Red Wind":
"That night desert wind blowing. It was one of those Santa Ana winds, hot dry, ports running down the mountain, you stir the hair, put you on edge and meat, chicken. On nights and partying group always end in fights. And the docile wives palpate the edge of a knife and observe carefully the neck of her husband. "
Fernando Jordan, whom the wind depressed, in one of his reports of 1949 on the Baja California notes:" The winds threaten the stability of the houses and the camp. For hours tear cracks to the walls and wooden roofs, whistling slip through the cracks and hit the windows vibrating and trembling with fear. And in that eternal serenade what can a man thinking?
"What nerves can be maintained against the howling incólumnes in space and the moaning of the surf? How much and what kind of physical and moral strength to overcome imposing overwhelming passage of the clouds, crying, wet the fog and constant moaning winds? "
For something as Jordan said: Since the beginning of the century, at least one record of this circumstance Baja California weather. Writing about the monsoon, the French geographer Diguet Leon said in 1912:
"The action of the wind on vegetation it is too drying, the leaves of the trees that are resistant to heat of the sun soon dried his contact, in the human body also influences in a remarkable manner, primarily attacks the nervous system, causing irritation and congestion. "
2. But wind can also be a poetic image. See if the case of the young Russian writer Iveta Gerasimchuk, barely twenty years, which just won the essay contest that invited the city of Weimar (Germany) and the magazine Lettre International .
The title of the contest was "Unlocking the future of the past. Unlocking the past from the future "and original 2.481 competed in the six UN languages: English, French, Chinese, English, Arabic and Russian. The jury met several times during a year in New York, Paris, Moscow, Beirut, Amann, Berlin, Hainan and Mexico. No one imagined that the 43 finalists the winner would be a Russian girl of twenty years was imposed on professors and philosophers and essayists enshrined. Hermann
Tertsch, correspondent of El Pais in Weimar, tells us that the idea of \u200b\u200bthe International Essay Prize was trying to reflect on the past and present history in the life of societies and their future projects:
"Since the Commission for Truth and Justice in South Africa until the trial for Pinochet's extradition, since the publication of the roles of the East German secret service to review the role of French society during the Nazi occupation, has no intellectual debate been spilled so much ink in the decade now ending as the discussion about the past and its implications for the future. "
She essayist, a student at the Institute of International Relations in Moscow, envisioned a "Dictionary of Winds" (to be published in Mexico by Letras Libres) in which a brilliant adventure poetic proposal to discern the clashes between the forces of past and future in contemporary society.
Written in dictionary form, the paper explains various terms (some invented), and describes the clash between anemophile (worshipers of the wind) and writers (worshipers of the past).
Of the nearly 2,500 contestants trials, 205 were in English, and none was among the top ten. The organizers felt that the relationship of participants reflects the difficulty of Third World writers to access information. 600 works were presented in English (the language of the empire) and many others in German. The Chinese were 37.
"Dictionary of Winds" reaffirms, therefore, that in the genre that was circulated Michel de Montaigne between 1533 and 1592, the important thing is a metaphor, a poetic order link that summarizes and consolidates the guiding principle, as was evidently the case The Labyrinth of Solitude, by Octavio Paz.
Postscript: Sergio Pitol tells me that King Lear, Shakespeare, the wind dies. Adolfo Castanon reminds me of the poem "Wind" by Saint John Perse.
Ah, yes, very strong winds on the faces of the living!
While Edgar Valencia, from Xalapa, sent me this paragraph of Gaston Bachelard:
"Arguably, the raging wind is the symbol of pure anger, anger without object, without excuse. The great writers of the storm, as Joseph Conrad (Typhon, his short novel) have loved this aspect, the storm without preparation, without causing physical tragedy. Gradually the cliche has spent the image: we speak of the fury of the elements without experiencing its elemental power. The forest and the sea by the storm deranged overloaded sometimes simple dynamic image of the hurricane. With air violent can capture elemental fury. The wind, in its excess, is the anger that is everywhere and nowhere, born and reborn from itself, which turns and turns. The wind howls and threats, but only when it finds dust takes shape: visible, it becomes a sad misery. "
In short, we should also think about the role of wind in a story like" Luvina "by Juan Rulfo, who recreated the atmosphere above the Comala Pedro Páramo. In San Juan Rulfo Luvina-name taken from a Oaxacan village, the wind is in many ways, character.
Shipping Bed Across Country
Terrorism as a crime
In contrast to the traditional detective novel and an enigma explains his decision, the judicial environment novel he wrote Georges Simenon in his Inspector Maigret series, is proposed instead the creation of an atmosphere, a context which will discard the elucidation of the crime.
"There should be no deductions or stroke of theater: its method is to slowly raise turbidity saturated atmospheres of mixed feelings, until, born of the physical communion intuition reveals the truth," says René Lalou.
intellectual pleasure that involves solving the riddle of the intrigues, murder, theft, missing person, is discernible in English tradition of the mystery novel, but everyone knows that the detective genre had its invention on a story by Edgar Allan Poe around 1841, "The Murders in the Rue Morgue", of which the author is an orangutan final and appearing for the first time in literature the detective, the Chevalier Auguste Dupin.
Simenon's case, like the black American novel, is different.
A hundred years after his birth (born in Liege, Belgium, February 13, 1903), Georges Simenon wrote over two hundred novels published under his own name and have spent several tributes, as you just did Magazine littéraire magazine and that took place here in the Palace of Fine Arts, on Wednesday 17 September with the participation of Paco Ignacio Taibo II and Caesar Guemes. Before the summer
Gallimard, in its prestigious Library of La Pléiade, in bookstores put two thick volumes of his novels and also dedicated the memorial Simenon Album of 2003. In a collection that contains the complete works of the classics, Marcel Proust and Jean-Paul Sartre, in a few months Simenon's works have established themselves as market leaders.
The English critic Rafael Conte refers to what was amazingly prolific inventor of Maigret. He says he was a novelist sometimes correct pretty clever, but he was never a great writer. Simenon wrote often for food needs, but also, keeping the hook of the detective novel, which does not allow the dropping of the reader took pains to write a hundred novels "serious."
was natural, moreover, that among so many novels-sometimes writing a senton, hours or days, locked-rounded than a few that are already going down in history as The Blue Room, The man who watched them pass trains, neighbors across the street, and those not strictly police. But perhaps one of the most notable is Maigret's memoirs, in which there is a meeting Pirandellian between the character and his creator Simenon Maigret.
already know that Maigret is not a private detective, and usually are the protagonists of the novel. It is a state representative, a prominent member of the police and judicial brilliant Paris, and the credibility of his character unthinkable in Mexico, may have worked well in France for the kind of relationship with readers, citizens, with institutions to seek and administer justice.
Maigret, on the other hand, is a character, not a type, more real, more human, more alive, since he first appeared in 1930, Peter the Latvian. Is a being of flesh and blood, lives with his wife near the Place des Vosges, sometimes regrets not having children, is making a career as a worker in the service of the state is about to retire, like the black snuff and light beer, I am pleased the Life appetite midday and delayed passage of the restaurants. Has his doubts. No clear nor as technical as researchers Conan Doyle or Agatha Christie. Works rather withdrawn and his alter ego, the writer Simenon, leads him to be creating an environment.
There comes a time in Maigret's memoirs coming to unfold, "take a double life: real character, the author argues with great character, asserting his own reality and their own rights as real character, "says Leonardo Sciascia in" A Brief History of the detective novel, "essay in Crossword, published by the Fondo de Cultura Economica in Mexico in 1990.
When Maigret, the character, he appears to Simenon, the writer, says that with the help of newspaper clippings would like to establish a timeline "of the major cases that have held me."
A Simenon does not seem a bad idea, but Maigret overtakes him that his books could be corrected.
"Only, my dear Maigret, who will have to be you who makes it work because I've never had the courage to reread."
dialogue between author and character, rather than Six Characters in Search of an Author, Pirandello, already in 1615, in the second part of Don Quixote. Sancho and Don Quixote, Cervantes talk and comment, not without irony how their adventures were collected in the first volume.
The inspector Maigret Simenon's novels seem "inaccurate." Simenon REVIRA him: "I've turned you into someone more real than yourself." And he released the paradox that truths are made more real than the naked truth:
"The truth never seems real. I do not mean just painting or literature. Tell someone you anything. If not fix them always look amazing and all artificial. You fix it and look more authentic than the truth itself. "
Of these subtleties was also able novelist Georges Simenon. 
In contrast to the traditional detective novel and an enigma explains his decision, the judicial environment novel he wrote Georges Simenon in his Inspector Maigret series, is proposed instead the creation of an atmosphere, a context which will discard the elucidation of the crime.
"There should be no deductions or stroke of theater: its method is to slowly raise turbidity saturated atmospheres of mixed feelings, until, born of the physical communion intuition reveals the truth," says René Lalou.
intellectual pleasure that involves solving the riddle of the intrigues, murder, theft, missing person, is discernible in English tradition of the mystery novel, but everyone knows that the detective genre had its invention on a story by Edgar Allan Poe around 1841, "The Murders in the Rue Morgue", of which the author is an orangutan final and appearing for the first time in literature the detective, the Chevalier Auguste Dupin.
Simenon's case, like the black American novel, is different.
A hundred years after his birth (born in Liege, Belgium, February 13, 1903), Georges Simenon wrote over two hundred novels published under his own name and have spent several tributes, as you just did Magazine littéraire magazine and that took place here in the Palace of Fine Arts, on Wednesday 17 September with the participation of Paco Ignacio Taibo II and Caesar Guemes. Before the summer
Gallimard, in its prestigious Library of La Pléiade, in bookstores put two thick volumes of his novels and also dedicated the memorial Simenon Album of 2003. In a collection that contains the complete works of the classics, Marcel Proust and Jean-Paul Sartre, in a few months Simenon's works have established themselves as market leaders.
The English critic Rafael Conte refers to what was amazingly prolific inventor of Maigret. He says he was a novelist sometimes correct pretty clever, but he was never a great writer. Simenon wrote often for food needs, but also, keeping the hook of the detective novel, which does not allow the dropping of the reader took pains to write a hundred novels "serious."
was natural, moreover, that among so many novels-sometimes writing a senton, hours or days, locked-rounded than a few that are already going down in history as The Blue Room, The man who watched them pass trains, neighbors across the street, and those not strictly police. But perhaps one of the most notable is Maigret's memoirs, in which there is a meeting Pirandellian between the character and his creator Simenon Maigret.
already know that Maigret is not a private detective, and usually are the protagonists of the novel. It is a state representative, a prominent member of the police and judicial brilliant Paris, and the credibility of his character unthinkable in Mexico, may have worked well in France for the kind of relationship with readers, citizens, with institutions to seek and administer justice.
Maigret, on the other hand, is a character, not a type, more real, more human, more alive, since he first appeared in 1930, Peter the Latvian. Is a being of flesh and blood, lives with his wife near the Place des Vosges, sometimes regrets not having children, is making a career as a worker in the service of the state is about to retire, like the black snuff and light beer, I am pleased the Life appetite midday and delayed passage of the restaurants. Has his doubts. No clear nor as technical as researchers Conan Doyle or Agatha Christie. Works rather withdrawn and his alter ego, the writer Simenon, leads him to be creating an environment.
There comes a time in Maigret's memoirs coming to unfold, "take a double life: real character, the author argues with great character, asserting his own reality and their own rights as real character, "says Leonardo Sciascia in" A Brief History of the detective novel, "essay in Crossword, published by the Fondo de Cultura Economica in Mexico in 1990.
When Maigret, the character, he appears to Simenon, the writer, says that with the help of newspaper clippings would like to establish a timeline "of the major cases that have held me."
A Simenon does not seem a bad idea, but Maigret overtakes him that his books could be corrected.
"Only, my dear Maigret, who will have to be you who makes it work because I've never had the courage to reread."
dialogue between author and character, rather than Six Characters in Search of an Author, Pirandello, already in 1615, in the second part of Don Quixote. Sancho and Don Quixote, Cervantes talk and comment, not without irony how their adventures were collected in the first volume.
The inspector Maigret Simenon's novels seem "inaccurate." Simenon REVIRA him: "I've turned you into someone more real than yourself." And he released the paradox that truths are made more real than the naked truth:
"The truth never seems real. I do not mean just painting or literature. Tell someone you anything. If not fix them always look amazing and all artificial. You fix it and look more authentic than the truth itself. "
Of these subtleties was also able novelist Georges Simenon.
Women Wearing Kotex Pad
atomic cartel Barcelona
Him: You have not seen anything
of Hiroshima. Nothing.
She: I've seen everything. Everything ...
-Alain Resnais, Hiroshima mon amour .
1. The B29, the plane that dropped the first atomic bomb on Hiroshima city BOUT, in 1945, was best known among the crew as the Enola Gay. Was named to his flight leader, Colonel Tibbets, because his mother's maiden named Enola Gay Haggard, born gidda, Iowa
When Tibbets wanted to be an aviator, his family opposed it, with the natural exception of his mother who encouraged him in his wishes. The four-ton bomb was christened with the name of Little Boy. Forebee through his viewfinder, he located the target at 8 hours, 13 minutes, 30 seconds. As a responsible bomber had hit the nail on the release button in case the synchronized mechanism will not work. Poc Earlier, Parsons had gotten into the pipe bomb thrower and his assistant while Jeppson that lit up and passed him tools, introduced with great care, the detonating explosive charge in the tail of Little Boy, and put in a position to double connection device. At that time, Jake Baser asleep. And in the end he had no need to press the button Forebee dejection: 8 hours, 15 minutes, 17 seconds, the floodgates opened outside of the pipe bomber and ingenuity began to sink in the air like a diver and masterfully perfect stretched.
At 8 hours 16 minutes caused the explosion.
2. For 60 years, since the August 6, 1945, a beautiful flying Superfortress evacuated its deadly payload on the ordinary people, not military, the Japanese cities Hiroshima and Nagasaki. The civilian death toll was estimated weeks after killing in a l50 thousand. Later, predictably, there were thousands of others who had a long death or mutilated survivors.
Viewed with hindsight, the bombing exterminator suggests several reflections that especially in recent years have to do with the killing of civilians in wars, or institutional anarchist terrorism and the madness of science : How is it possible that the talent of humanity has come up with a formula that could extinguish the planet?
Fedor Dostoyevsky said: "I do not see the difference between killing a man from a desktop, by signing a document, or kill with an ax."
Why is not terrorism bellísma the performance of a war machine, a marvel of human engineering, a metal sculpture that flies like a star, whose uniformed driver released their bombs without seeing the results or their victims?
very conservative calculations, obviously manipulated estimate civilian deaths in Iraq so far of the invasion, not war, because for there to fight requires two opposing armies, reaching 26 000 and totaling tens of thousands more men, women and children who were maimed. But this walking
killing civilians, not soldiers and was commonplace in the second world war. The British and Americans, U.S. or gringos, killing at least 220 000 noncombatant civilians in the German city of Dresden. Bomb-strewn cities. Terrified. And did not lack justification because Hitler also had bombed London. Henrique González Casanova
used to read us in journalism writing class (in Political Science from the UNAM) one of the most heartbreaking books have been written about the slaughter of 6 August 1945: Hiroshima, the American journalist John Hersey. A year after the bomb, in August 1946, Hersey visited Hiroshima and spoke to some survivors. His report took the full number of the magazine The New Yorker one month later and since then is considered a masterpiece of journalism of all time.
As you know, the feeling of guilt was strong among Americans because, in truth the White House policy, the atomic bomb on two Japanese cities ended with a war that was sure to continue and in which, as only land invasion of Japan would die between 100 thousand and a million U.S. soldiers. The political criteria, the reason of state, was like many other times in history have to sacrifice a few lives to save more lives.
When he met with Stalin and Churchill, Harry S. Truman felt necessary to inform that his country "had a new weapon of extraordinary destructive force." Cold War began. Not a few officials, like William Leahy, chief of staff of Roosevelt, argued that the bomb did not represent "any substantial assistance in our war against Japan." They say they later retracted, but General Eisenhower left word out there that the bomb was not justified because by that time "Japan was already defeated."
had not the slightest importance that Japan was already predisposed to total surrender. The war in the Pacific began to be history and what Truman cared about was the new geopolitics. He did not want to waste the time to make a show of force with the pump, but not Japan, that did not matter, but the Soviet Union. For that many people were killed. 
Barcelona
Him: You have not seen anything
of Hiroshima. Nothing.
She: I've seen everything. Everything ...
-Alain Resnais, Hiroshima mon amour .
1. The B29, the plane that dropped the first atomic bomb on Hiroshima city BOUT, in 1945, was best known among the crew as the Enola Gay. Was named to his flight leader, Colonel Tibbets, because his mother's maiden named Enola Gay Haggard, born gidda, Iowa
When Tibbets wanted to be an aviator, his family opposed it, with the natural exception of his mother who encouraged him in his wishes. The four-ton bomb was christened with the name of Little Boy. Forebee through his viewfinder, he located the target at 8 hours, 13 minutes, 30 seconds. As a responsible bomber had hit the nail on the release button in case the synchronized mechanism will not work. Poc Earlier, Parsons had gotten into the pipe bomb thrower and his assistant while Jeppson that lit up and passed him tools, introduced with great care, the detonating explosive charge in the tail of Little Boy, and put in a position to double connection device. At that time, Jake Baser asleep. And in the end he had no need to press the button Forebee dejection: 8 hours, 15 minutes, 17 seconds, the floodgates opened outside of the pipe bomber and ingenuity began to sink in the air like a diver and masterfully perfect stretched.
At 8 hours 16 minutes caused the explosion.
2. For 60 years, since the August 6, 1945, a beautiful flying Superfortress evacuated its deadly payload on the ordinary people, not military, the Japanese cities Hiroshima and Nagasaki. The civilian death toll was estimated weeks after killing in a l50 thousand. Later, predictably, there were thousands of others who had a long death or mutilated survivors.
Viewed with hindsight, the bombing exterminator suggests several reflections that especially in recent years have to do with the killing of civilians in wars, or institutional anarchist terrorism and the madness of science : How is it possible that the talent of humanity has come up with a formula that could extinguish the planet?
Fedor Dostoyevsky said: "I do not see the difference between killing a man from a desktop, by signing a document, or kill with an ax."
Why is not terrorism bellísma the performance of a war machine, a marvel of human engineering, a metal sculpture that flies like a star, whose uniformed driver released their bombs without seeing the results or their victims?
very conservative calculations, obviously manipulated estimate civilian deaths in Iraq so far of the invasion, not war, because for there to fight requires two opposing armies, reaching 26 000 and totaling tens of thousands more men, women and children who were maimed. But this walking
killing civilians, not soldiers and was commonplace in the second world war. The British and Americans, U.S. or gringos, killing at least 220 000 noncombatant civilians in the German city of Dresden. Bomb-strewn cities. Terrified. And did not lack justification because Hitler also had bombed London. Henrique González Casanova
used to read us in journalism writing class (in Political Science from the UNAM) one of the most heartbreaking books have been written about the slaughter of 6 August 1945: Hiroshima, the American journalist John Hersey. A year after the bomb, in August 1946, Hersey visited Hiroshima and spoke to some survivors. His report took the full number of the magazine The New Yorker one month later and since then is considered a masterpiece of journalism of all time.
As you know, the feeling of guilt was strong among Americans because, in truth the White House policy, the atomic bomb on two Japanese cities ended with a war that was sure to continue and in which, as only land invasion of Japan would die between 100 thousand and a million U.S. soldiers. The political criteria, the reason of state, was like many other times in history have to sacrifice a few lives to save more lives.
When he met with Stalin and Churchill, Harry S. Truman felt necessary to inform that his country "had a new weapon of extraordinary destructive force." Cold War began. Not a few officials, like William Leahy, chief of staff of Roosevelt, argued that the bomb did not represent "any substantial assistance in our war against Japan." They say they later retracted, but General Eisenhower left word out there that the bomb was not justified because by that time "Japan was already defeated."
had not the slightest importance that Japan was already predisposed to total surrender. The war in the Pacific began to be history and what Truman cared about was the new geopolitics. He did not want to waste the time to make a show of force with the pump, but not Japan, that did not matter, but the Soviet Union. For that many people were killed.
Messenger Does Not Detect Webcam
The Teaching Sciascia
The cartel
is probably no such activity took place as the writer. You do homage. Awards are given. Meet the glory here on Earth. Because each of his books is celebrated as the birth of a child enduring and not so fleeting and perishable as human.
Not so in the exercise of other trades. It is very likely that the most notable of the neurosurgeons, who saves a life or two a week, not known at all this accumulation of life's celebrations can be a writer. It is highly unlikely that the anonymous neurosurgeon speaks to the cultural or scientific section of the newspapers to ask them to come and do an interview because only in so far this month has saved five lives. I could not do it or give you grief, unlike the artist who goes from self and becomes his own agent. Why? Because the egg must be cackling. Because even God needs steeples.
But all this makes sense: the writer is an activity of collective interest and its importance can not be measured by its social utility. It is obvious that a jumbo jet pilot or an engineer specialist in resistance materials (so that buildings do not fall off) warrants further its purpose in this world. The futility of art is known for many philosophers. And what happens is that the writer's products reflect, or at least attempt to reflect the collective soul and your party is all it is the party of the tribe, as we have been seeing over a week during the International Guadalajara Book that today is the world's most important in English.
This year was devoted to Catalan culture and
-apart Llac Lluis concert and presentation of artists such as Enrique Vila-Matas, Albert Sánchez Piñol, and James Ellroy, giving him a very special nature is that Catalonia is unquestionably the capital of English book publishing. Guadalajara therefore converged in almost all publishers from Latin America and Spain, in a great literary festival. In a tribute to the Italian writer and publisher Roberto Calasso, who was awarded the Merit Award for his editorial work on the Adelphi house in Milan, not a few editors talk about their rivalries and competitions, and even of envy as a stimulus that as all human beings possess usually before dawn, when the wolf. Beatriz de Moura, head and heart of editorial Tusquets (which announced a novel Tusquets Prize awarded in Guadalajara for the coming year), he said, Calasso celebrate, that of the editors is "a very special tribe, whimsical, unique in the sense of envy is so positive and productive and where the biggest rivals are both accomplices."
Over three days, from Monday to Wednesday, so you can appreciate the intensity of the encounters, conversations between a flag and other, exchange of books, new or reconfirmed the relationship between authors and publishers.
So in this event the enthusiasm of the readers in their encounters with novelists and poets of this body, there in front of them, flesh and blood, which promotes the most interesting experiences.
presentations are so many books and appearances by authors in person very often the audience has to sacrifice a session on the other. Or attend the dialogue between Paco Ignacio Taibo II and James Ellroy, author of The Black Dahlia and LA Confidential, or adding to the hundreds of readers who are listening to Elmer Mendoza when he talks about his latest novel written in English half Sinaloa Transnational drug traffickers and a bit so it has action in Argentina and Spain: effect tequila.
James Ellroy looks black but is not. Neither is very white. And intervened in the suit conference track and field, as if he'd be jogging in the park. It's a great storyteller recreates the city criminals Los Angeles in the 50's, the only period that is passionate about the history of their country. Makes no friends with intellectuals and is closely related to police in their leisure time. He says he does not read newspapers or seen on television newscasts. His message is: you have to escape the media like the plague. Otherwise it can be isolated and work, except that only reads fiction to keep alive his fantasy. There is a man of ideas or theories, or at least I intended. Speak, for example, Tijuana without transcending the stereotype coined about this city that for some is the Northwest New York.
Barcelona
The cartel
Enrique Vila-Matas deserve a complete and exclusive. It was the great literary personality of the show. A serious man, a sense of humor (literary) absolutely original and somewhat Kafkaesque.
Moreover, in other presentations and in this racket, he turned to find that the Mexican writer and in general the Latin American-still waiting, needing and seeking the blessing of Europe: the editorial approval of the mother as a writer to complete Spain . The literary standing is now achieved in Barcelona, \u200b\u200bas before in Paris. So while the writer of this side is not published in Spain feels it is not.
The cartel
is probably no such activity took place as the writer. You do homage. Awards are given. Meet the glory here on Earth. Because each of his books is celebrated as the birth of a child enduring and not so fleeting and perishable as human.
Not so in the exercise of other trades. It is very likely that the most notable of the neurosurgeons, who saves a life or two a week, not known at all this accumulation of life's celebrations can be a writer. It is highly unlikely that the anonymous neurosurgeon speaks to the cultural or scientific section of the newspapers to ask them to come and do an interview because only in so far this month has saved five lives. I could not do it or give you grief, unlike the artist who goes from self and becomes his own agent. Why? Because the egg must be cackling. Because even God needs steeples.
But all this makes sense: the writer is an activity of collective interest and its importance can not be measured by its social utility. It is obvious that a jumbo jet pilot or an engineer specialist in resistance materials (so that buildings do not fall off) warrants further its purpose in this world. The futility of art is known for many philosophers. And what happens is that the writer's products reflect, or at least attempt to reflect the collective soul and your party is all it is the party of the tribe, as we have been seeing over a week during the International Guadalajara Book that today is the world's most important in English.
This year was devoted to Catalan culture and
-apart Llac Lluis concert and presentation of artists such as Enrique Vila-Matas, Albert Sánchez Piñol, and James Ellroy, giving him a very special nature is that Catalonia is unquestionably the capital of English book publishing. Guadalajara therefore converged in almost all publishers from Latin America and Spain, in a great literary festival. In a tribute to the Italian writer and publisher Roberto Calasso, who was awarded the Merit Award for his editorial work on the Adelphi house in Milan, not a few editors talk about their rivalries and competitions, and even of envy as a stimulus that as all human beings possess usually before dawn, when the wolf. Beatriz de Moura, head and heart of editorial Tusquets (which announced a novel Tusquets Prize awarded in Guadalajara for the coming year), he said, Calasso celebrate, that of the editors is "a very special tribe, whimsical, unique in the sense of envy is so positive and productive and where the biggest rivals are both accomplices."
Over three days, from Monday to Wednesday, so you can appreciate the intensity of the encounters, conversations between a flag and other, exchange of books, new or reconfirmed the relationship between authors and publishers.
So in this event the enthusiasm of the readers in their encounters with novelists and poets of this body, there in front of them, flesh and blood, which promotes the most interesting experiences.
presentations are so many books and appearances by authors in person very often the audience has to sacrifice a session on the other. Or attend the dialogue between Paco Ignacio Taibo II and James Ellroy, author of The Black Dahlia and LA Confidential, or adding to the hundreds of readers who are listening to Elmer Mendoza when he talks about his latest novel written in English half Sinaloa Transnational drug traffickers and a bit so it has action in Argentina and Spain: effect tequila.
James Ellroy looks black but is not. Neither is very white. And intervened in the suit conference track and field, as if he'd be jogging in the park. It's a great storyteller recreates the city criminals Los Angeles in the 50's, the only period that is passionate about the history of their country. Makes no friends with intellectuals and is closely related to police in their leisure time. He says he does not read newspapers or seen on television newscasts. His message is: you have to escape the media like the plague. Otherwise it can be isolated and work, except that only reads fiction to keep alive his fantasy. There is a man of ideas or theories, or at least I intended. Speak, for example, Tijuana without transcending the stereotype coined about this city that for some is the Northwest New York.
Barcelona
The cartel
Enrique Vila-Matas deserve a complete and exclusive. It was the great literary personality of the show. A serious man, a sense of humor (literary) absolutely original and somewhat Kafkaesque.
Moreover, in other presentations and in this racket, he turned to find that the Mexican writer and in general the Latin American-still waiting, needing and seeking the blessing of Europe: the editorial approval of the mother as a writer to complete Spain . The literary standing is now achieved in Barcelona, \u200b\u200bas before in Paris. So while the writer of this side is not published in Spain feels it is not.
3d Cube Fix For Nascar Simracing
When memory Sciascia wrote in 1989 I had the illusion, a bit childish, that Sciascia teach some resources for journalists who cultivated hope to write a book someday. Give them weapons, I said. No little of his literary malice transmute through reading The Moro case, Majorana's disappearance, On land of infidels, the theater of memory. Sciascia
What makes goes back to classical times rhetoric, because the argument has been since the days of Cicero, a chain of reasoning. Helena Beristain is what's called a "reasoned discussion." It is the most important speech because it summarizes and focuses the matter in question. Inferential evidence, or probation or argues, Helena Beristán abounds, are based on data from the case, which serve to demonstrate and belong to the inventio. The argument "is often used as a method of knowledge or as a weapon to the dispute. As it addresses the achievement of demonstration, deterrence or persuasion, is an instrument and is closely linked to the collection and use of power. " The evidence, he concludes, the skeleton of the argument. And so comes
Leonardo Sciascia:
While his novels are always pure literary invention deployed along the floor and feed on the mistakes and the color of memory, the fact is that never loose their ground wire: its connection with history and the facts that in turn allow-in its composition, making the characters truly amphibious creatures: those beings who do not know if they are more water to the territory of the realm of the earth.
to say other things and reveal other sides of reality "established" the whole is what counts: the irony, the context, significant omissions, literally transcribed the words of historical actors. And to achieve this effect is needed eventually fermented literary education: a way to organize the world around us and the past that only teaches literature, daily contact with books, conversations with dead authors. If anything good is literature is a tool to establish connections, organize your thoughts and ideas. It has no other purpose.
This "method" could instruct those who, for example, have proposed three hundred pages, the political puzzle of the assassination of Luis Donaldo Colosio. An archive of papers and documents serve as raw material, but then had to go to political figures and police who had to do with Buendía. What was the context? Why did you decide to kill the evening light, in front of dozens of witnesses, making the attack at the sight of all as the purloined letter by Edgar Allan Poe? What should be the obvious hurry to delete this? May never be known, but journalistic work elucidating other hypotheses could return persuasive than those officers. Why President Miguel de la Madrid took five years to start investigations? Five years.
Colosio In the case of a litany of questions might be more penetrating than the five volumes of the official investigation. Why President Salinas, with all the power of a Mexican president did not send the army to occupy the perimeter of tension, ie the scene, the scene of the crime that most basic safeguard criminology advised intact? Why not personally took charge of an investigation seriously? What exactly was the role played by the Praetorian Guard of Luis Donaldo Colosio, the guards of the Presidential, so meticulously trained to cover, like a basketball team, who takes the ball? Perhaps these books
imaginary or unpublished not lead to the truth of the facts and the instigators. May not find out who put together the hand that triggered the trigger. But that is because the purpose of the journalist writer is that: not a criminologist or a judge or a policeman. This is not your job. Your task is to establish and see the linkages, to show, to return the complex simple, to decide certain sequencing of information, to portray witnesses and medical officials and political competitors of the victim. If this journalism is concluded that the truth will never know if it is reaffirmed that there is no blame or masterminds, perhaps, at least, is done with the trip to dismantle the mechanisms of power and complicity.
And if the truth can no longer find in the newspaper everyday, maybe still has its refuge in journalism helped by the literature.
Kikker 5150 Hardknock
initiation rite
I was twenty.
not let anyone tell you age is
beautiful life.
-Paul Nizan, Aden Arabia
, 1966
say that at twenty years has, from the biological point of view, perfect physical condition: the optimal age for military service or for an Olympic career. From then on everything in life is declining. So those who die in wars are boys as young as those who fell in the sands of Iwo Jima. So the Olympic competitions between athletes are given more or less twenty years. That's why boxers, football players, basketball players, have their big moment at twenty. Is the peak age.
I have met three times twenty years and although I get what I did at that age. Where was I in 1961 and the subsequent months? "It seemed so terrible that age as Paul Nizan, the young philosopher, Sartre's friend? I think not. Maybe because in many cases those years have a greater capacity for illusion.
"It threatens to ruin a young man: love, ideas, loss of family, entering the adult world. He is hard to learn his place in the world. "
In May 1962 I was not yet twenty-one and I was in New York waiting for a boat that would take us to Le Havre, the Aurelia. I had gone by land in a Greyhound bus from Laredo to Philadelphia because he had to meet a group of young Quakers in a town called Pendelhill, Pennsylvania, where he would teach us about the camp that every summer the Quakers of the American Friends Service Committee (which in 1947 won the Nobel Peace Prize for his services during the second war in Europe) organized in Switzerland and southern Italy. I happened to camp in a Swiss village called Bergün, more or less by the region where the Thomas Mann novel locates his enchanted mountain (I know that in English is known as The Magic Mountain, but I like to remember as it was translated into Italian: La montagna Incantate), a week, and then in a remote village in southern Italy: Crucifix, in Calabria, which had no over 300 souls and in which mafia and had kept the law of omerta.
we had no evil in the Aurelia. Our group was about twenty, and gringos gringos, and a Mexican. We did eleven days in the Aurelia, originally built by the Germans in 1917, now sailing with Italian flag and the trip was very interesting because I was changing the schedule. The food was very good and eat with wine. The wine became dizzy in a very pretty. We rocked. After lunch we went to all the girls to the stern to sing and to digest, but as you moved the boat stirred digestion. It was the pleasure of drinking mild. And he was a joke or FAJE well suited to time, as was natural and logical andARTE gringas kissing, sometimes we apretábamos by brokers and other times we got into the bunk, ie the cabins.
cachondería was a constant day and night, at all times, although Smooches not pass away. We arrived at Le Havre and then we went direct train to the Gare du Nord in Paris. A dream come true: I grew up always knowing obsessed with Paris as soon as possible in my life. But I was very scared: he had then the wave of the OAS, the Secret Army (L'Organisation de l'Armée Secrete) which is opposed to De Gaulle and the liberation of Algeria. It was in 1962. They planted bombs strafing and spraying the cafes in certain neighborhoods, you will cast a machine gun or grenade
But Paris was my goal. There could be a writer if I did not know Paris. So at age twenty, I was in Europe at a very young because I put the craziness of a writer if I was not going to Paris could not be a writer. I walked with the mark of the lost generation of the twenties, like Hemingway, who made his Paris, and Scott Fitzgerald and Dos Passos. If not were you in Paris writing in cafes as Albert Camus and Jean-Paul Sartre then what kind writer wanted to be?
Later, well into the summer, I spent six weeks in a camp building a school for children in the Calabrian town, Crucifix. There I met a Milan, with whom I traveled south to north after the peninsula, Sicily to Florence for eighteen days. We arrived at the youth hostels and slept in bedrooms and beds, some for men, others for women. But last night in Florence, decided, or rather she decided, we went to a hotel. We found a guest house that we got as seven in the evening and we no longer till the next morning. There I had my very privileged and fortunate erotic initiation and understand that indeed, at that age, you know the hardships of love. Comes a kind of sweet physical exhaustion after making love many times, something that the Romans coined a memorable sentence: post coitum omne animal triste. At dawn, we did not know exactly what part of town we were, we opened the wooden window overlooking the street and we realized we were in front of the baptistry of Dante and Giotto's campanile front, ie, below Florence Cathedral. That was the scene. 
I was twenty.
not let anyone tell you age is
beautiful life.
-Paul Nizan, Aden Arabia
, 1966
say that at twenty years has, from the biological point of view, perfect physical condition: the optimal age for military service or for an Olympic career. From then on everything in life is declining. So those who die in wars are boys as young as those who fell in the sands of Iwo Jima. So the Olympic competitions between athletes are given more or less twenty years. That's why boxers, football players, basketball players, have their big moment at twenty. Is the peak age.
I have met three times twenty years and although I get what I did at that age. Where was I in 1961 and the subsequent months? "It seemed so terrible that age as Paul Nizan, the young philosopher, Sartre's friend? I think not. Maybe because in many cases those years have a greater capacity for illusion.
"It threatens to ruin a young man: love, ideas, loss of family, entering the adult world. He is hard to learn his place in the world. "
In May 1962 I was not yet twenty-one and I was in New York waiting for a boat that would take us to Le Havre, the Aurelia. I had gone by land in a Greyhound bus from Laredo to Philadelphia because he had to meet a group of young Quakers in a town called Pendelhill, Pennsylvania, where he would teach us about the camp that every summer the Quakers of the American Friends Service Committee (which in 1947 won the Nobel Peace Prize for his services during the second war in Europe) organized in Switzerland and southern Italy. I happened to camp in a Swiss village called Bergün, more or less by the region where the Thomas Mann novel locates his enchanted mountain (I know that in English is known as The Magic Mountain, but I like to remember as it was translated into Italian: La montagna Incantate), a week, and then in a remote village in southern Italy: Crucifix, in Calabria, which had no over 300 souls and in which mafia and had kept the law of omerta.
we had no evil in the Aurelia. Our group was about twenty, and gringos gringos, and a Mexican. We did eleven days in the Aurelia, originally built by the Germans in 1917, now sailing with Italian flag and the trip was very interesting because I was changing the schedule. The food was very good and eat with wine. The wine became dizzy in a very pretty. We rocked. After lunch we went to all the girls to the stern to sing and to digest, but as you moved the boat stirred digestion. It was the pleasure of drinking mild. And he was a joke or FAJE well suited to time, as was natural and logical andARTE gringas kissing, sometimes we apretábamos by brokers and other times we got into the bunk, ie the cabins.
cachondería was a constant day and night, at all times, although Smooches not pass away. We arrived at Le Havre and then we went direct train to the Gare du Nord in Paris. A dream come true: I grew up always knowing obsessed with Paris as soon as possible in my life. But I was very scared: he had then the wave of the OAS, the Secret Army (L'Organisation de l'Armée Secrete) which is opposed to De Gaulle and the liberation of Algeria. It was in 1962. They planted bombs strafing and spraying the cafes in certain neighborhoods, you will cast a machine gun or grenade
But Paris was my goal. There could be a writer if I did not know Paris. So at age twenty, I was in Europe at a very young because I put the craziness of a writer if I was not going to Paris could not be a writer. I walked with the mark of the lost generation of the twenties, like Hemingway, who made his Paris, and Scott Fitzgerald and Dos Passos. If not were you in Paris writing in cafes as Albert Camus and Jean-Paul Sartre then what kind writer wanted to be?
Later, well into the summer, I spent six weeks in a camp building a school for children in the Calabrian town, Crucifix. There I met a Milan, with whom I traveled south to north after the peninsula, Sicily to Florence for eighteen days. We arrived at the youth hostels and slept in bedrooms and beds, some for men, others for women. But last night in Florence, decided, or rather she decided, we went to a hotel. We found a guest house that we got as seven in the evening and we no longer till the next morning. There I had my very privileged and fortunate erotic initiation and understand that indeed, at that age, you know the hardships of love. Comes a kind of sweet physical exhaustion after making love many times, something that the Romans coined a memorable sentence: post coitum omne animal triste. At dawn, we did not know exactly what part of town we were, we opened the wooden window overlooking the street and we realized we were in front of the baptistry of Dante and Giotto's campanile front, ie, below Florence Cathedral. That was the scene.
Pelvic Girdle Pain Not Prehnant
A daily confusion
If literature is a hint, something just said and interview, for that reason and for many readers the works of Franz Kafka are too hermetic and indecipherable. As if Kafka was too reticent, a voice that just babbles and says only half the things for the reader to complete.
But the truth is that Overture Kafkaesque has become so well assimilated into everyday life, however little you have read, the more timid reader clearly understand the individual isolated and helpless before the universe in many ways identified by Joseph K., the character of the process.
Kafka's condition would be that: the powerlessness over the state, lost in the maze of all powers, unable to understand the meaning of our lives and what ultimately came to do in this world. Like many professional
of narrative literature, not least those who write stories for children, Franz Kafka uses exaggeration. Everything you like and exaggerated and distorted from reality. With the figure of his father did the same thing with all the circumstances of his life: to amplify the role he played in his life and transform the childhood memory I had of him to concoct countless pages of literature. Or, as Jordi Llovet in his anthology of Kafka's stories that deal with the father: "Few elements of Kafka's biographical setting performance were so literary as it reached the human-made symbol" of his biological father. " If one follows
haunting tales Kafka throughout the life increasingly better understood and if suddenly you run into a "Letter to My Father" in which the child struggles with his father, later will be linking this letter with many of the early narratives Young Franz, as the "conviction", in which about intolerance and stubbornness of the father the son ends up thrown in the River. This relationship with the father, who is no ghost but a human being painfully stubborn and concrete, is carefully marked in "The Metamorphosis", this short novel in which Gregor Samsa wakes up into a monstrous vermin. Certainly now
"Metamorphosis" is no longer called that. The new critical review of all translations Kafka has established that this story should be titled "Transformation." The novel that once knew as "America" \u200b\u200bis now titled "The missing person." Kafka did not want to see him too literary intent. If I had wanted, he could have titled this story along with the word "metamorphosis" because it is a word that is in the repertoire (in the dictionary) of the German language.
However, despite new and highly authoritative translations of the Peruvian Juan José del Solar, one wonders if there really has not been another Kafka who you knew or had read in English.
But what we are: What is Kafkaesque, in essence? Many people use the adjective without knowing exactly what he means, perhaps because it is also true that it is not necessary to have read Kafka Kafkaesque sense it refers to something stressful, confusing, rambling, and the situation of helplessness and paralysis that characterizes K, the character of The Castle.
However, it is quintessential Kafka in a story: "A confusion every day." It is the story of a misunderstanding. A man goes in search of another and not find it. When it reaches a certain point, they say that the subject of your search is just gone.
"An everyday occurrence: bear, a daily heroism. A is about to do big business with B, who lives in H. H targets to address previous issues, and along the way there and back in ten minutes respectively, to get home so unique boasts fast. The next day he heads back to H to definitively close the deal. Knowing that the negotiations will probably last several hours, to leave home early in the morning. However, despite all the circumstances, the hands from the point of view of A, are identical to the previous day, this time takes ten hours to travel the road. In the afternoon, arriving tired to H, we say that B, upset by his absence, has gone to get himself to his people, and should have been crossed by the road. The recommend that you wait. But A, fearing for business, starts immediately and goes hastily to his house. This time it crosses the road in an instant, without paying much attention. Once home, we report that B has come early in the morning, just outside A, and have even crossed the door of the house, where B has reminded business that were pending, but A he said he had no time, I had to leave in a hurry. Despite the incomprehensible behavior of A, B has chosen to stay there to wait. Although asked several times if A had already reached, is still up in the room A. Happy to talk despite all with B, and explain what happened, runs away down the stairs. When you are about to get up, stumble, sprained and almost fainting with pain, unable even to scream, moaning in the darkness, hear how B-do not know if from far away or right next to him down the stairs angry , to stomp, and finally disappears. " 
If literature is a hint, something just said and interview, for that reason and for many readers the works of Franz Kafka are too hermetic and indecipherable. As if Kafka was too reticent, a voice that just babbles and says only half the things for the reader to complete.
But the truth is that Overture Kafkaesque has become so well assimilated into everyday life, however little you have read, the more timid reader clearly understand the individual isolated and helpless before the universe in many ways identified by Joseph K., the character of the process.
Kafka's condition would be that: the powerlessness over the state, lost in the maze of all powers, unable to understand the meaning of our lives and what ultimately came to do in this world. Like many professional
of narrative literature, not least those who write stories for children, Franz Kafka uses exaggeration. Everything you like and exaggerated and distorted from reality. With the figure of his father did the same thing with all the circumstances of his life: to amplify the role he played in his life and transform the childhood memory I had of him to concoct countless pages of literature. Or, as Jordi Llovet in his anthology of Kafka's stories that deal with the father: "Few elements of Kafka's biographical setting performance were so literary as it reached the human-made symbol" of his biological father. " If one follows
haunting tales Kafka throughout the life increasingly better understood and if suddenly you run into a "Letter to My Father" in which the child struggles with his father, later will be linking this letter with many of the early narratives Young Franz, as the "conviction", in which about intolerance and stubbornness of the father the son ends up thrown in the River. This relationship with the father, who is no ghost but a human being painfully stubborn and concrete, is carefully marked in "The Metamorphosis", this short novel in which Gregor Samsa wakes up into a monstrous vermin. Certainly now
"Metamorphosis" is no longer called that. The new critical review of all translations Kafka has established that this story should be titled "Transformation." The novel that once knew as "America" \u200b\u200bis now titled "The missing person." Kafka did not want to see him too literary intent. If I had wanted, he could have titled this story along with the word "metamorphosis" because it is a word that is in the repertoire (in the dictionary) of the German language.
However, despite new and highly authoritative translations of the Peruvian Juan José del Solar, one wonders if there really has not been another Kafka who you knew or had read in English.
But what we are: What is Kafkaesque, in essence? Many people use the adjective without knowing exactly what he means, perhaps because it is also true that it is not necessary to have read Kafka Kafkaesque sense it refers to something stressful, confusing, rambling, and the situation of helplessness and paralysis that characterizes K, the character of The Castle.
However, it is quintessential Kafka in a story: "A confusion every day." It is the story of a misunderstanding. A man goes in search of another and not find it. When it reaches a certain point, they say that the subject of your search is just gone.
"An everyday occurrence: bear, a daily heroism. A is about to do big business with B, who lives in H. H targets to address previous issues, and along the way there and back in ten minutes respectively, to get home so unique boasts fast. The next day he heads back to H to definitively close the deal. Knowing that the negotiations will probably last several hours, to leave home early in the morning. However, despite all the circumstances, the hands from the point of view of A, are identical to the previous day, this time takes ten hours to travel the road. In the afternoon, arriving tired to H, we say that B, upset by his absence, has gone to get himself to his people, and should have been crossed by the road. The recommend that you wait. But A, fearing for business, starts immediately and goes hastily to his house. This time it crosses the road in an instant, without paying much attention. Once home, we report that B has come early in the morning, just outside A, and have even crossed the door of the house, where B has reminded business that were pending, but A he said he had no time, I had to leave in a hurry. Despite the incomprehensible behavior of A, B has chosen to stay there to wait. Although asked several times if A had already reached, is still up in the room A. Happy to talk despite all with B, and explain what happened, runs away down the stairs. When you are about to get up, stumble, sprained and almost fainting with pain, unable even to scream, moaning in the darkness, hear how B-do not know if from far away or right next to him down the stairs angry , to stomp, and finally disappears. "
Saturday, February 4, 2006
Cash To Blood Donors Miami
Traveling alone
A
FCPeña
Ryszard Kapuscinski has always been a patadeperro. Wherever there is a mess, especially in African countries, there is with suitcase and book notes. Have you heard the buzz of bullets that the military more American. Assumes no walking as meditation or as a relationship with nature, in the manner of Henry D. Walking Thoreau, but a necessity for contact with people.
And is that the Polish journalist, who has made the book journalism in a genre that asks nothing of literary fiction, believes that reporters should travel alone because it is important to see the world to investigate and penetrate with our own eyes. "The presence of another person influences our perception of things. His gestures, his comments, change this clean relationship between the writer and the world around him. "
(The family trip is to the contrary: to share with the loved the surprise of the roads seas, mountains and the recesses of the cities, the pleasure of conversation.)
tells that once he and some comrades were doing a documentary on Africa with an English team who first set foot on the continent. Toured places and when they came to colleagues anywhere they put a call to London from their mobile phones. "They traveled with me for three months but were never emotionally and mentally Africa, all the time were in London."
And is that Kapuscinski (read Empire, a story on the breakup of the Soviet Union as a nation, or Ebony, a journey towards country heart African), a feature reporter is empathy, the ability to feel at once as a member of the family: "Sharing the pains, problems, sufferings, the joys of people who recognize him entry if really is between them or if there is more than one passenger who came, looked around and left. "
is not as journalism from a desktop. Without people, the journalist is lost. Your career depends on the support and the will of others. At one point, as changing a light, can decide their career, because in those few minutes a driver can take you to a wealth of combat or be denied. Both
humility as gratitude have so crucial. The arrogance and indifference can cause people to cut and did not heed. Hence, the trade-off for the arrogance of those who cover the corridors of power, has to be exercised with modesty. The villages are full of stories. Just knowing how to find.
What has fascinated Kapusckinski is that the twentieth century has been that of decolonization and the great migrations from the countryside to the cities. Never before had opened in the political arena so many countries, more than eighty. Not impressed by anything the contemporary transmission speed and create as García Márquez, the best news is not what came first but it grows best. I hit a wonderful century, feels: the passing of the generations that move the story like Sisyphus's stone upwards. If the telegraph, radio, telephone, television, film, did not end with the press, as feared, now either the Internet or e-mail replaced the live reporter at the scene of events. The print media continues to develop. "The media extend the method of existence of the word, the transmission of the word. Not just to each other, expand. "
not very fond of novels. Cree reality and vivid characters appearing in the theater of the world are much more interesting and their stories more unusual than those provided by the market of literature. What novel of recent years has been able to move much as a real story?
has known the tedium of the editorial and downtime waiting abroad while working on a news agency, which no matter the writer. But rejoice that they had to cover that slave labor to write books, activity round the sense of the personal life of a journalist, to continue feeling that their work gets out of hand like a fist of sand. His wandering by African communities, this reality so rich, so colorful, so different from Europe, gave much more information than could put in the cables of the agency. "Then I locked myself in my room to prepare notes which would become later in books, while my comrades were going to be drinking whiskey."
In the best sense of the word, as I said Antonio Machado, compassion has always been among the keys his typewriter, analyze, speculate, imagine, fantasize, to invent, because it is essential that a reporter has come between the people who, in most of the world, living in very harsh and terrible conditions. "And if we share we have no right, according to my morals and my philosophy, to write." If you spent the night at the Hilton or Sheraton, and not in their houses of adobe and pure ground floor, no could be aware of when writing about their lives.
"When night came, the people were gathered from seven to tell their stories, and that was the time more literary, more beautiful, fantastic day. It was all poetry. " 
A
FCPeña
Ryszard Kapuscinski has always been a patadeperro. Wherever there is a mess, especially in African countries, there is with suitcase and book notes. Have you heard the buzz of bullets that the military more American. Assumes no walking as meditation or as a relationship with nature, in the manner of Henry D. Walking Thoreau, but a necessity for contact with people.
And is that the Polish journalist, who has made the book journalism in a genre that asks nothing of literary fiction, believes that reporters should travel alone because it is important to see the world to investigate and penetrate with our own eyes. "The presence of another person influences our perception of things. His gestures, his comments, change this clean relationship between the writer and the world around him. "
(The family trip is to the contrary: to share with the loved the surprise of the roads seas, mountains and the recesses of the cities, the pleasure of conversation.)
tells that once he and some comrades were doing a documentary on Africa with an English team who first set foot on the continent. Toured places and when they came to colleagues anywhere they put a call to London from their mobile phones. "They traveled with me for three months but were never emotionally and mentally Africa, all the time were in London."
And is that Kapuscinski (read Empire, a story on the breakup of the Soviet Union as a nation, or Ebony, a journey towards country heart African), a feature reporter is empathy, the ability to feel at once as a member of the family: "Sharing the pains, problems, sufferings, the joys of people who recognize him entry if really is between them or if there is more than one passenger who came, looked around and left. "
is not as journalism from a desktop. Without people, the journalist is lost. Your career depends on the support and the will of others. At one point, as changing a light, can decide their career, because in those few minutes a driver can take you to a wealth of combat or be denied. Both
humility as gratitude have so crucial. The arrogance and indifference can cause people to cut and did not heed. Hence, the trade-off for the arrogance of those who cover the corridors of power, has to be exercised with modesty. The villages are full of stories. Just knowing how to find.
What has fascinated Kapusckinski is that the twentieth century has been that of decolonization and the great migrations from the countryside to the cities. Never before had opened in the political arena so many countries, more than eighty. Not impressed by anything the contemporary transmission speed and create as García Márquez, the best news is not what came first but it grows best. I hit a wonderful century, feels: the passing of the generations that move the story like Sisyphus's stone upwards. If the telegraph, radio, telephone, television, film, did not end with the press, as feared, now either the Internet or e-mail replaced the live reporter at the scene of events. The print media continues to develop. "The media extend the method of existence of the word, the transmission of the word. Not just to each other, expand. "
not very fond of novels. Cree reality and vivid characters appearing in the theater of the world are much more interesting and their stories more unusual than those provided by the market of literature. What novel of recent years has been able to move much as a real story?
has known the tedium of the editorial and downtime waiting abroad while working on a news agency, which no matter the writer. But rejoice that they had to cover that slave labor to write books, activity round the sense of the personal life of a journalist, to continue feeling that their work gets out of hand like a fist of sand. His wandering by African communities, this reality so rich, so colorful, so different from Europe, gave much more information than could put in the cables of the agency. "Then I locked myself in my room to prepare notes which would become later in books, while my comrades were going to be drinking whiskey."
In the best sense of the word, as I said Antonio Machado, compassion has always been among the keys his typewriter, analyze, speculate, imagine, fantasize, to invent, because it is essential that a reporter has come between the people who, in most of the world, living in very harsh and terrible conditions. "And if we share we have no right, according to my morals and my philosophy, to write." If you spent the night at the Hilton or Sheraton, and not in their houses of adobe and pure ground floor, no could be aware of when writing about their lives.
"When night came, the people were gathered from seven to tell their stories, and that was the time more literary, more beautiful, fantastic day. It was all poetry. "
What Do You Think Of Cigna Dental
The truth of the Interesting
Rate an account of
true story is an insult to art and truth.
-Vladimir Nabokov
so interested in its time (1992) book Mario Vargas Llosa, the truth lies, it rewrites Alfaguara now enriched with new texts.
The title of this collection of short essays on the authors that have excited (Flaubert, Camus, Faulkner, Lampedusa, Mann, Kafka, Victor Hugo, Hemingway, and many others) has its appeal, like most literary propositions in apparent contradiction, ie, in a paradox: the truth that is achieved through the lie.
Since I started writing, Mario Vargas Llosa used to ask if what I wrote was true. When he answered he had the uncomfortable feeling that he could not explain it very well, having said something that "never was in the center of the target. " But with time and the literary experience was becoming increasingly clear that the literature is a lie, so-called "literary fiction" is explained by the etymology of the word, since it comes from the Latin fingere fiction, ie : the verb model, perform, invent, pretend.
"I write (my stories), I choose it all happen in some distant time and place a bit far," thought Borges. "That gives me freedom to fantasize and even counterfeit. I can lie without anyone noticing and, above all, without me noticing it myself. "
is a convention accepted between the reader and writer. It is also a continuing problem in the philosophy of all time: the truth. The novels lie, says Vargas Llosa, but this is only a part of it. "The other is that lying, they express a curious truth that could only express hidden and concealed, disguised as what is not." And is that humans, both children and old and middle age, they realize of the ambiguities and misunderstandings that occur in the perception of reality. They also know how difficult, how extremely laborious to establish the truth of a crime, for example. They know that political life, for example, ranges constantly between truth and falsehood. The "judicial truth" the truth of the judges and the police is not enough. There is always room for doubt. How many lies Bush and Blair wanted to justify the invasion of Iraq and the "taking" of Baghdad? Why are so many murders in the political enigma?
ethics, politics, journalism, living in the cult of truth. The most immoral, for example, American society, is lying. It swears to tell the truth with his hand on the Bible. No lie, says the warrant. So when we say that a writer is a liar seems that he is denigrating. And there is no exact word in English for clearly referring to what the literary lie. Because lying is a very negative connotation. Involves deception, dishonesty, evil. However, in the field of literature is tantamount to lying fable.
Given the impotence of journalism and history to tell the "truth", the truth seems to find its last refuge in the literature or at least a possibility of truth, a truth deeper and more subtle. And so the reader of fiction, not afraid of the excesses of fantasy. On the contrary, delights in them to see if flying blind, imagination enough to rub some areas of the elusive truth. "Men are not content with their lot and almost all, rich and poor, great or poor, famous or obscure, they wanted a different life of living. To appease that appetite-trap-born fiction. They write and read for humans have lives that are not resigned to not have, "Vargas Llosa argues. Writer
realistic if the school of Gustave Flaubert, the author of the Hero and The Feast of the Goat recognized that memory is the starting point of fantasy: the springboard that fires the imagination in her flight to the unpredictable fiction. Literature known to move in ambiguity and its truths are always subjective, half, relative and often constitute blatant inaccuracies or historical lies.
After shredding the novels that has enjoyed and recommended, concludes the volume with a disquisition (originally published in Reader's Digest) about the importance and meaning of reading in a moment of history it seems, but not is true, that the writers are about to disappear as the telegraph and people away from the graphic culture. For nothing has lost faith in the written word. This book convinced that anyone can make life easier or more simple, but harder and more interesting.
case of stories, says Colombian Fernando Vallejo, "the truth is the correspondence of this with what happened, and she is opposed to lies. Thus defined is a matter only of history, or even the first-person novel. Since the novel is an invention, no question of truth in it, and where no question of truth likewise be no lie. In the novel, truth and lies are two illusions that are canceled. An inventive novelist novelist is not a liar. Is a novelist to dry. Liar would be the invented story. " 
Rate an account of
true story is an insult to art and truth.
-Vladimir Nabokov
so interested in its time (1992) book Mario Vargas Llosa, the truth lies, it rewrites Alfaguara now enriched with new texts.
The title of this collection of short essays on the authors that have excited (Flaubert, Camus, Faulkner, Lampedusa, Mann, Kafka, Victor Hugo, Hemingway, and many others) has its appeal, like most literary propositions in apparent contradiction, ie, in a paradox: the truth that is achieved through the lie.
Since I started writing, Mario Vargas Llosa used to ask if what I wrote was true. When he answered he had the uncomfortable feeling that he could not explain it very well, having said something that "never was in the center of the target. " But with time and the literary experience was becoming increasingly clear that the literature is a lie, so-called "literary fiction" is explained by the etymology of the word, since it comes from the Latin fingere fiction, ie : the verb model, perform, invent, pretend.
"I write (my stories), I choose it all happen in some distant time and place a bit far," thought Borges. "That gives me freedom to fantasize and even counterfeit. I can lie without anyone noticing and, above all, without me noticing it myself. "
is a convention accepted between the reader and writer. It is also a continuing problem in the philosophy of all time: the truth. The novels lie, says Vargas Llosa, but this is only a part of it. "The other is that lying, they express a curious truth that could only express hidden and concealed, disguised as what is not." And is that humans, both children and old and middle age, they realize of the ambiguities and misunderstandings that occur in the perception of reality. They also know how difficult, how extremely laborious to establish the truth of a crime, for example. They know that political life, for example, ranges constantly between truth and falsehood. The "judicial truth" the truth of the judges and the police is not enough. There is always room for doubt. How many lies Bush and Blair wanted to justify the invasion of Iraq and the "taking" of Baghdad? Why are so many murders in the political enigma?
ethics, politics, journalism, living in the cult of truth. The most immoral, for example, American society, is lying. It swears to tell the truth with his hand on the Bible. No lie, says the warrant. So when we say that a writer is a liar seems that he is denigrating. And there is no exact word in English for clearly referring to what the literary lie. Because lying is a very negative connotation. Involves deception, dishonesty, evil. However, in the field of literature is tantamount to lying fable.
Given the impotence of journalism and history to tell the "truth", the truth seems to find its last refuge in the literature or at least a possibility of truth, a truth deeper and more subtle. And so the reader of fiction, not afraid of the excesses of fantasy. On the contrary, delights in them to see if flying blind, imagination enough to rub some areas of the elusive truth. "Men are not content with their lot and almost all, rich and poor, great or poor, famous or obscure, they wanted a different life of living. To appease that appetite-trap-born fiction. They write and read for humans have lives that are not resigned to not have, "Vargas Llosa argues. Writer
realistic if the school of Gustave Flaubert, the author of the Hero and The Feast of the Goat recognized that memory is the starting point of fantasy: the springboard that fires the imagination in her flight to the unpredictable fiction. Literature known to move in ambiguity and its truths are always subjective, half, relative and often constitute blatant inaccuracies or historical lies.
After shredding the novels that has enjoyed and recommended, concludes the volume with a disquisition (originally published in Reader's Digest) about the importance and meaning of reading in a moment of history it seems, but not is true, that the writers are about to disappear as the telegraph and people away from the graphic culture. For nothing has lost faith in the written word. This book convinced that anyone can make life easier or more simple, but harder and more interesting.
case of stories, says Colombian Fernando Vallejo, "the truth is the correspondence of this with what happened, and she is opposed to lies. Thus defined is a matter only of history, or even the first-person novel. Since the novel is an invention, no question of truth in it, and where no question of truth likewise be no lie. In the novel, truth and lies are two illusions that are canceled. An inventive novelist novelist is not a liar. Is a novelist to dry. Liar would be the invented story. "
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