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.
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