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.
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