Just get the notice that is available the latest issue of Letras Libres for the month of December 2010 and, after reviewing the index and check with relief that the presence of texts in honor of Vargas Llosa has decreased significantly, I plunged into reading : Villoro a new story, the inevitable article Zaid, an Ashbery poem, and a couple of papers on the "past, present and future of English, especially those who enjoy the undersigned Master Alatorre. In the Mexican edition of the dish it is foreign gaze, a mosaic of re-readings of seven foreign authors who lived firsthand the Mexican Revolution and left their testimony in two books. A true delight.
So far there are no surprises, but later I am struck, in the "Books", dedicated to the review body pluralistic anthology of contemporary Latin American poetry where poems entered no fewer than 58 authors collected by Gustavo Guerrero (Caracas, 1957). The signature review Daniel Saldana, who starts his letter with this definition: "A body plural, yes, of topics, from formal resources, logs, backgrounds. But nevertheless, Gustavo Guerrero tracks an argument in diversity "is this whole, the first group of English American poets formed and disclosed in the unstable period of change and transitions following the fall of the modern paradigm. " The main feature of the new model: there is already a unitary concept of poetry. In the prologue is spoken, again and again, a "fragmentation and diversification" of that concept. Even though this spray you can find some confluences. For example, the "critique of modern sacred poetry, intent that dominates much of the volume."
But until a few paragraphs later, when the review takes on national interest to readers: "It Plural body some names that are almost forced to understand the English poetry of recent years (Antonio José Ponte, Fabián Casas, Damaris Calderón, Germain Carrasco, Luis Felipe Fabre) and others that the limited diffusion of his work was almost impossible to have read before, among the latter, there is the same disappointments (the Honduran Fabricio Estrada) that important findings (the Dominican Frank Báez). Not surprising to find more poets (and more texts each) of Chile, Peru and Argentina, whose poetry was ahead, in a sense, the paradigm shift. "
And here I think is necessary reflection, firstly because this trial over countryman Fabricio Estrada is, without doubt, the most stark and negative transparently displayed in the review. It is even more striking because Saldaña suggests that it is a missed opportunity, because the level is disappointing that ascribes to the work of Estrada is the fact that is associated with poor recognition and diffusion that poetry has had the last Honduran years, a situation that is resolved more clearly in the phrase "other than the limited diffusion of his work was almost impossible to have read before," ... In sum, to appear in this anthology was a great opportunity to put poetry Honduras in the last twenty years in the Hispanic context, precisely because the books they publish with remarkable consistency our Poets are unlikely to be read by anyone beyond the limits patriotic.
is clear that this time national poetry was not the fate of other years, when authors such as Roberto Sosa, Oscar Acosta, José Luis Quesada, Livio Ramirez, Rigoberto Paredes, José Antonio Funes, to name some names appeared in anthology compiled in other areas and his poems were reviewed with enthusiasm, getting recognized around the English-American that in some cases, went beyond Spain, France, Italy or Germany. With the exception of Funes, these poets belong to a canon before Fabricio Estrada, whose life and work are part of a "movement" that, in his remarkable efforts to find readers to under the table, has been characterized by an editorial incontinence which was concelebrated with singular benevolence and friendship from a project called Paíspoesible , whose founder and initiatory circle quickly garnered support among the writers of the province seeks to find a niche in the publishing boom il miglior full of fish and sweet fabbro the next hour. While it is true that some sensible voices pointed out the issue of quality in the work of these authors self edited, eventually won the argument which claimed their inalienable right to publish as verse ran through his head crowned with laurel, and its rejection of any critical approach that questions in the least what consider their "right to create" even Estrada has been said in his blog: " So things should be set up! Create! let's leave those to write the critical business experts ! "
Although Fabricio Estrada later withdrew from the project as demagogic, that favored the volume publishing and cultural management over literary quality, his work ultimately can not distance themselves from their founding premises of its elemental art of poetry. And this is evident when the objective evaluation which involved the reading of Saldaña, unbiased by the interests of the homeland, the earthy, socially simplistic visions imposed a provincialism that has not found his amendment in the cyber village, on the contrary , has strained the cares of "capital city" centralization and dialectics of the Cabal, to the extent that exploit virtual contacts to persist in showing as factotum of the current national poetry when his supporters do nothing but fleas removed Vests their anachronistic postmodern manners.
In summary, with this deception, as he has described the "trade expert" Saldaña Letras Libres, missed the opportunity to show the world the work of a new generation of Honduran poets like Rebecca Becerra, Mayra Oyuela, José Antonio Funes, Marco Antonio Madrid. Samuel Trigg, Jorge Martinez, Giovanni Rodriguez and Gustavo Campos, whose works have passed through the filter of critical appreciation circles beyond the vernacular and could well break a couple of spears in favor of our national poetry.
If you want to download complete review Saldana click here .
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