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2010, a year

2010 is finished. You know, time sheets, to recall and make those lists that we love them all. This is mine, this year's highly charged titles as personal and not transferable to not have to build consensus. It should not, there is the grace of the film. But, after all, is mine. And so I tell it.

• The film year: Source

Find a spark of originality in Hollywood has merit. Give a torrent with all visual and narrative behind the scenes as Christopher Nolan, is a treasure. And Origin, together the two renditions of Batman that has led, the best example of what can make him a movie when care is taken in all its facets. Beautifully shot, superbly acted, with a script as overwhelming as its visual imagery, music that makes my hair stand on end, scenes as innovative as the hotel lobby and an ending so open and ready for the debate. Who can give more? Source is one of those movies that linger in the memory. And that's priceless.

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· Most prominent

plagued modern film classic, classic movie as beautiful as ever and genre films (are the cartoons really a genre?) Clinging to classicism it works. The network , Invictus and Toy Story 3 . To me it's the best that has been released in Spain in 2010. And by far. David Fincher, who has spent years in top shape and making film to film one of the most fascinating directors the time, created an awesome movie from a fascinating script and dialogues full of energy weapons is quite likely to lead him to rise to some awards next year. Is the Oscar? We'll see. I would not say that The network does not deserve it.

- Clint Eastwood

presented us with Invictus a great work, maybe not among the three best (that's saying something!), But a more exalted, much as many have doubted it. What a beautiful final, how great is Morgan Freeman. And how great is Clint, of course. Do not die ever. Boys Pixar itself is exceeded. It seemed impossible, yet again. But they have done it again. Once again! What a way to mourn at the end of this film, a beautiful example of the animation, however much some may wish to continue to deny, as cinema is the most critically acclaimed. Toy Story 3 is the closest is the previous step here, but someone will think I'm in the pay of Pixar with such praise as I dedicate forever.

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positive surprises ·

A coffin as the only onstage for 90 minutes. A single actor on the screen. A English director who rolls in English with an American interpreter. Can anything good come of this cocktail? I had not said before the premiere, but admitted from the beginning the courage of the approach. But good is not enough. It is a brilliant film, stunning and captivating. Buried (Buried) is one of those movies that leave their mark without having dozens of big names in their lineup. Only with imagination, wit and class. That itself is not suitable for claustrophobic.

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Sometimes it seems like a film meant to be a box office success (it is after or not) can not be good. Sherlock Holmes surprised that way. And also for the faithfulness to the character of Sir Arthur Conan Doyle, more than had been feared before her. A joy. And Team A was the pleasant surprise of the summer. He had it all to be terrible. And it is awfully entertaining. As A model citizen, a movie that went almost unnoticed and had many successes, but also the odd big hole.

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The animation left two very pleasant surprises. Number 9 is a product atypical, dark and fascinating showing that there is no need to have all the details of a story to make an attractive and notable film. How to Train Your Dragon made clear with an entertaining life story Dreamworks. And that, in the reign of Pixar and the complex entratamado languishing franchises, is great news for viewers.

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I did not think that the decadent romanticism of Hollywood could make a film as beautiful and fresh as Beyond time. I did not think Ben Affleck, despite being such a bad actor, could confirm The Town is a good director. No independent thought a little film like Sunshine Cleanning , with the delightful Amy Adams, could entertain both. I did not think An education many virtues could hide behind the adorable face of Carey Mulligan. And so, all pleasantly surprised me.

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I like to ... as expected

I was not surprised, but I liked. I liked the entertaining Ridley Scott's Robin Hood . As well as the Martin Scorsese's Shutter Island , although the script was not at the level he deserved the way to shoot the teacher. Or the Roman Polanski writer, though not his best movie (but what a great Pierce Brosnan). I also liked the Peter Jackson of the beautiful but badly finished The Lovely Bones. Also M. Night Shyamalan's Airbender , although many who endeavor to bury overestimated after The Sixth Sense. And the Oliver Stone of the sequel to Wall Street , although not the final film of the crisis that could have been.

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If we talk of sequels, Harry Potter and the Deathly Hallows I liked as much as expected. That is, not too much, as the whole saga, but with small successes. O Iron Man 2, even the villains is not convinced (but is that Robert Downey Jr. is huge). O Tron, a visual delight. Or hollow heroics (very empty) of Clash of the Titans. Convince the visual strength of Ga'Hoole . The legend of the Guardians . And the return of Joe Dante juvenile terror fears . Crazy Heart hold thanks to a Jeff Bridges spirited. And Princess and the Frog ... Why not going to convince me if you have the Disney label and is, again, traditional animation? A small change made me laugh, as much as Jennifer Anniston continue as herself. Edge was the return of Mel Gibson, and with that we could expect it was. And the remake of Let me liked me more than the original thanks to the amazing music by Michael Giacchino.

- Film

smaller but equally compelling is offering animation The Secret of Kells . white tape and A single man as much as I liked expected, but unfortunately was less than that liked the world of criticism, which he praised, especially the first. Soul Kitchen and The Silence of Lorna are good films to escape in American cinema. And Five minutes of glory look for a very, very different on terrorism. Anne's decision is not so small, but its tone makes it belittle TV movie a little to stay as is.

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· Huge disappointment Disappointing

what generates expectations. And the prizes and critical praise agreed to films that left me in disappointment of varying size. The firework display and pretentious emptiness of Kathryn Bigelow, The Hurt Locker , takes the cake for many Oscars it won. But almost as much as Up in the air (it seemed hollow and insignificant, if I tried disguise) and Precious (a TV movie all the way, brave if you will, but telefilm). The same thing happened with the award-winning French film A prophet that led me to boredom for most of its very long length.

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Tim Burton for the first time I was disappointed with a soulless version Alice in Wonderland . Behind the big names of actresses, Nine suffered from the same, with a spirit to sustain it. The blind side had the Oscar de Sandra Bullock, but the same was, was the story. And The soloist had good actors and good intentions, but did not quite find the key. Mothers and daughters I left as an ensemble film so easy to do as almost all have become fashionable these stories, and Two lovers promised more than what it offers, perhaps hampered by a very credible Joaquim Phoenix.

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The apocalyptic future The road was too philosophical. As The Book of Eli Denzel Washington. The American George Clooney was too boring and pretentious. The Iraq by Paul Greengrass and Matt Damon in Green Zone trasngresor was less than expected. And Brothers courting Natalie Portman too bland. The Centurion Neil Marshall was very far to revitalize the Roman film. Almost as much as Mercenaries Stallone be offered a worthy self-homage. O The Picture of Dorian Gray to do justice to the soap opera that is based.

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Shrek. happily ever demonstrated how wrong it is to stretch a series to exhaustion. Astro Boy , not just a good animation to make a good movie. As Fantastic Mr. Fox very different in another record. The Sorcerer's Apprentice is so bad that scary, how easy it seems to make a fantasy film simply entertaining. Scott Pilgrim against the world evidence that the language of comics and the movies are brothers but not twins. And Werewolf hardly deserves the label of disappointment about how bad it is. How sad movie.

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Loss of time

all had friends who are not. Taking this to the movies, Predators is the best example. Please do not do more. Woody Allen also partially embedded in that group, because friend-friend never came to be, and will meet the man of your dreams I think I just contented to fans Woody Allen today. Or the Coens, those brothers stopped making movies after The Big Lebowski and offered (so to speak) A Serious . And the English cinema, meeting its quota in this section with trumpet Sad Ballad (amazing movie, no doubt), Didi Hollywood (all more than likely coming from Bigas Luna and Elsa Pataki) or Room Rome (Julio Medem definitely seems to have lost the right course of his first films).

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Skyline, Unstoppable , Salt , Splice , Nightmare on Elm Street , Night and Day, Kick-Ass , Percy Jackson and the Lightning Thief , Legion, Prince of Persia , From Paris with Love, Bounty Hunter, Bad Lieutenant , Solomon Kane , Daybreakers, A Perfect Getaway, The fourth stage (how many movies Mila Jovovich has done, by God ...?), Men Who Stare at Goats ... Hollywood, to a greater or lesser extent, but always expendable. The Vampire's Assistant too like all the new juvenile fantasy sagas. Liam Neeson and Laura Linney are not enough to lift Chronicle of a hoax. And yes Milley Cirus alone is enough to end The last song.

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• The worst movie of the year: Machete

Sometimes it's difficult to choose the worst movie of the year that highlight the best. Usually more competition on the side of evil, go, and this year was several films that fought bravely to get that reference. I'll stick with Machete for what it represents. The Robert Rodriguez, and by extension that of Quentin Tarantino, a film lauded by certain sectors of criticism and a legion of fans. They see it as fun, maybe even groundbreaking. And yet, it seems to me an absurd movie, easy as pie, wild (in the worst sense of the word) and totally lacking in genius, the result of a time surrounded by friends is worth more than talent. Machete is a collection of topics as absurdities, meaningless scenes, actors or directly off deserving of oblivion. And all it has its fans. I feel great. But I'm not one of them.

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· No interest

see them a few years ago I had not dared to say that Robert de Niro is the reason why I have no interest in seeing a movie. Now I say this without fear. This is what happened to me Stone. I have never had qualms, however, in saying that the overvalued Javier Bardem, an actor who I do not see anything at all on what you do you see many others. So no Biutiful or Come, pray, love seduce me in the slightest. Amador Neither the once hopeful Fernando León de Aranoa. O Julia's eyes that sounds like a copy of The Orphanage. Or 3 meters above the sky . Or the unnecessary Remaja of The Karate Kid .

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Now parents are they (why, De Niro, why ...?), I Saw V (and VII ...?), Resident Evil. grave (how many are already ...?), Paranormal activity 2 (really deceived both the first and to make a sequel ...?), Sex and the City 2 (not me this speaks volumes series, not ...). Many sequel, the original lot and I was not interested. As the Millennium , although the same now that David Fincher does the American remake review touches me. Eclipse directly no, that I really like vampires, the terrifying, and not those of Twilight.

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· What remains to be seen me
As much film you see, movies are always in the pipeline. Sometimes because they have been released in recent weeks of the year, as is the case The king's speech. As well as other Burlesque , Megamind or The tourist . Sometimes because their distribution is very limited, as Cheri , Red Cliff, City life and death, Philip Morris love you! , Chloe or Tamara Drewe. Sometimes because, adhered to the topic, still gives me lazy which are English films, as I did with Lope, Agnosia or The schadenfreude. Sometimes just because they are beyond the hopes of a better occasion. There goes titles and the third installment of The Chronicles of Narnia , Thieves, The Spy Hunt , rumors and lies , 's other daughter, Adele and mystery of the mummy or Gru, my favorite villain. And sure there's more.

How Do You Trade In Platinum

film 'Tron', a visual and sensory enjoyed

Retrieve a hit movie for a sequel that hits theaters 28 years after the original title, has its dangers. Do with a film that in its day was not too successful but over the years has become a cult, it sounds too risky for Hollywood (although there is more risk ... and with less fear of a bump). And those fears at the time of producing a film, have an understandable reflection of those who admire the merits of the original film. How easy it is to forget the original and make an entirely new film that has little or nothing to do with the spirit of that mythical title. But here's Tron, continued late Tron. And what has been achieved is a unique visual spectacle, a delight for the senses, a true and genuine science-fiction proposal for the XXI century indebted to the 80's of XX century and faithful to what we had then. Quite an experience which, like the original film, is already a corner in my heart fan of science fiction.

things first. The story does not seem, a priori, the most important of Tron . And yet, the plot of the movie fits perfectly with what Tron left original. It is a great little twist to the ideas that inspired Steven Lisberger to create this universe. The dialogue, as usual, are not wonderful, but they get to listen in the context of a good story. The characters are equally well built, from the legendary Jeff Bridges Flynn to his son (Garrett Hedlund, who debuted in Troy ) through software and the two sexy women in history, Olivia Wilde and Beau Garrett or eccentric overreacted and Michael Sheen (Tony Blair in The Queen ). No longer a little joy to see here the other actor who repeats from the original, Bruce Boxleitner (Cindy Morgan, the leading actress Tron does not appear in this issue), like the nod to the son of Dillinger (David Warner in the film , 1982), played in a brief cameo by Cillian Murphy (the Scarecrow in the Batman movies by Christopher Nolan.) All this, without being the highlight of the tape, it works.

And it works because it has built around the newcomer director Joseph Kosinski an overwhelming visual environment, beautiful and terribly creative. All part of a logical process. Tron is , yes, but mostly it's an evolution Tron natural. We're not in the 80's, old arcade machines are no longer used. Today we live in a technological environment that required another approach. And Tron show gets to perfection, from the foreground of one of the virtual machines that updates the old original graphics. Several highlights have this delusion that visual (and sound, are very suitable for both sound effects and the wonderful soundtrack, so modern and retro, Daft Punk), and one of them, how could it be otherwise , is the iconic scene of motorcycle light, so exciting and visually beautiful. This sequence finds its reflection, as if in a mirror game, in all parallel developments that share the first film and this sequel, including part of the final climax.

A great piece of visual pleasure that is also in the locker room and throughout the film developed from the original concepts, evolved to model a credible environment in 2010. It works because everything that comes through the eye works Tron. The universe is credible, the appearance of the characters is believable, and credible vision of the environment. Even the 3D is credible, although it seems a joke during the first half hour of film, in which the damned glasses do not seem necessary (Including a sign warning of the presence of 2D scenes shot so that the viewer does not have the feeling that you are kidding.) There, in fact, is the main Achilles heel of the film segments that seem to become too long, and the introduction is one of them. is that of a 3D Tron curious. Made, say, using the same techniques that Avatar but a step ahead, benefiting from the strange effect that the light of the virtual environment has on the figures and scenarios. I do not know if it was really necessary or how it will look all in the two traditional dimensions, but the conclusion is that the film is visually beautiful and it is likely that 3D will also contribute to it. For

find a visual fault is in the face rejuvenated Jeff Bridges to give life to its sister program in the virtual environment, Clu. Is said to have used the same techniques that added and removed years Brad Pitt in The Curious Case of Benjamin Button , but at times was more akin to giving effect Beowulf. This was too cartoon. Squeaks in some scenes that face altered by computer in a world where even the computer graphics look real. The film makers were aware of this and why Tron, which should Boxleitner its face appears in most of the time with a helmet. Over the years also note the influence of other titles that have nothing to do with Tron, and it is not difficult to find seed planted Matrix fight scenes. At least, Kosinski not get carried away by this sickening trend in the cinema today to move the camera and offers a movie sense, with all its modernity, classical in their approach. That, added to the mix of textures gives the film according to the environment or the time to address, make Tron a small rarity in modern science fiction.

If you like Tron , you'll like Tron . If you like science fiction will enjoy this sequel. If special effects are your thing, here's one of those feasts that you can not miss. But if you fancy a touch of innocence and boundless entertainment was the fantastic 80's, here's your chance to rejuvenate a few years without complex and enjoy how as a child. Is that what has happened to me.

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CANTATA TO LIFE, LOVE AND MISS. MOLINA CESAR CONSUEGRA. ESA

Languages:

Country: Canada

Edition: First edition.

Version: 1

Paperback Book 78 pages, bound

15.24 cm x 22.86 cm,




author
Description:

literature is a proposal that contains stories, .. including the pulpit, head butt, circus, big sigh, in the wrong place, the first experience, the sky is gray and the variant of Judas Iscariot the regular reader .. You will find my poems of the soul ... a song of hope for a kinder world, another world is possible the size of our hopes and dreams .... Song from the clay of the earth primitive, taking the pain of the humiliated and offended, the cries of silence, those who have no voice, and the rescue of the memory of our dead ... the drama of missing persons, displaced persons and refugees, through a insane war.





The Author: Cesar Molina

Consuegra, writer of poems and stories, was born in Barranquilla (Colombia). He studied economics at the University of the Atlantic, political science and now Montreal (Canada).



has been finalist in the Poetry Center of Madrid (Spain). His poems appear in anthologies. He was a finalist in the competition for stories on Prague in October 2008. Published a book of short stories and poetry "Cantata to life, love and forgetting," Lulu Publishing, 2009.César Consuegra Molina, writer of poems and stories, was born in Barranquilla (Colombia). He studied economics at the University of the Atlantic, political science and now Montreal (Canada). He was a finalist in the contest Poetry Center of Madrid (Spain). His poems appear in anthologies. He was a finalist in the competition for stories on Prague in October 2008. Published a book of short stories and poetry "Cantata to life, love and forgetting," Lulu Publishing, 2009. Book
promoted in literature review.

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HIDDEN MOON .. VARGAS VILA

The steps lead us down the path to the flavor

uncertain fate,

parched carpet of leaves, stones and pebbles

the forest looks the same

rocking their leaves to changing wind, and that Moon

suddenly hidden

and vertigo of absence



remember that suffer and think about all the sufferings accumulated

as geological layers in displays infinite

skin sprouts, and reappears

vacuum

eyes wandering in the darkness like ghosts

lost, we do not know



where to build roads ..

yells something we follow,

beyond the end of the timeline, a word Apollonian



furrowed dawn,

magical, unique, full-fledged

of dreams and illusions ...

is the time of the shadows, too many statues



bathe in the muddy rain

the moment,

pudica hide their secret winged

someone says history is treasured,

other, memories the future, and that moon

hidden

not tell us when you start the final, prescient

only the slightest nudge

to nothing, and fall



vacuum without passing through the door ..

gustaMe I do not like · Comment

White Fluids Instead Of Periods

.. propagandistic and Libertarian.

Vargas Vila, and libertarian pamphleteer







José María de la Concepción Vargas Vila Apolinar Bonilla was born in Bogotá, in a family of radical ideas, 23 July 1860. Died in Barcelona on May 23, 1933. His parents were José María Vargas Vila general and Elvira Bonilla. He studied secondary school in Bogotá. Very early

participated in political struggles as a journalist, agitator and orator. I was sixteen when he enlisted in just the liberal forces General Santos Acosta. At age 24, in 1884, served as general secretary of the radical Daniel Hernandez, during the uprising that he led against President Rafael Núñez, head of the "nationalist" and leader of the "National Regeneration." Colombia was then a Federal Republic made up of "sovereign states" and is often shaken by regional uprisings and civil wars. The uprising of General Daniel Hernandez started in the Sovereign State of Santander (northeast of the country) and soon spread to the whole nation. In 1885 the rebels defeated the government troops at the Battle of the smoke, but its losses were so great that they found it impossible to continue operations. The very leader of the rebellion died in that terrible carnage. His secretary, Vargas Vila, fled to the plains of Casanare, where General Santos Gabriel Vargas offered hospitality and shelter. He wrote his book "Brush Strokes on the latest revolution in Colombia, silhouettes war."

With this book was born Vargas Vila devastating, iconoclastic, pamphleteer. It drew portraits cruel, grotesque, major political leaders of the "Regeneration", emphasizing to caricature the Catholic confessional, disqualifying with Adjectives Lapidary, burning, all the alleged civic virtues of these leaders and presenting them as power hungry monsters and loaded with all sorts of moral evils. The government's response was immediate reward was offered for the capture of Vargas Vila, alive or dead.

The pamphlet fled to Venezuela and settled in Rubio, where he founded the newspaper "The Federation." Colombia's government, through pressures and protests, succeeded in this publication was closed by the authorities of Venezuela. Vargas Vila moved to Maracaibo and there began producing his first novels, he published and sold in pamphlet form, for delivery.

In 1891 he traveled to the United States and settled in New York, where he soon established relationships with many Latin American exiles, intellectuals and conspirators. A warm friendship joined the admirable José Martí and attended events together, literary meetings, forums and meetings of workers, politicians and poets. Martí left us the testimony of a meeting with workers in which he was passionate, "the passionate enthusiasm with which, taken out of their seats by impetus of love, saluted those slaves of America peroration rhythmic, inspired, a most gallant of the Colombian Jose M. Vargas Vila, who has his days and glorious and famous battles of his words and his pen in favor of freedom. "

In New York, Vargas Vila founded and edited the magazine "Latin America" \u200b\u200band the newspaper "El Progreso." There was also published his book "Providenciales" ferocious tirade against warlords and dictators arrogant American.

In 1893 he traveled to Venezuela where President Crespo was appointed his private secretary. But this did not last long, as Crespo Vargas Vila was overthrown and had to return to his exile in New York. They documented their frequent meetings with José Martí and the latter letter, written in late 1894, shows that Vargas Vila was informed by his Cuban friend about plans to return to the island to join the war of independence. A few months later, May 19, 1895, Martí fell mortally wounded on the floor of the home he had loved above all things in life. Vargas Vila

he moved to Paris, where so many brilliant writers had taken refuge in Latin America (Fombona Rufino Blanco, Enrique Gomez Carrillo and many others). With these established relations of personal friendship and intellectual, while continuing to publish articles, essays, novels, stories and political pamphlets. In New York, where he returned in 1902, founded the magazine "Nemesis", which soon became very popular. He wrote and edited in full and its pages may be the finest and most terrible battle of his sentences. Vargas Vila is notable that chose to move to New York to write there, and elsewhere, a violent book "Before the barbarians" relentless indictment of U.S. expansionism, with its brand new gun and his "Big Stick Policy." Again

established in Paris, remained there the publication of "Nemesis." But his personal life had reached a critical point. It was intellectually admired and feared, but also deeply hated by governments, academia and intellectual traditionalists. He was a loner, like a raging bull fighting in the middle of the ring, without intimate emotional life without a deep love without a lasting company. Neurosis began to manifest as aggressive and intolerant attitudes, even toward one's friends who believed and admired. Her doctor told her to move out. He moved to Venice. Although the brackets

Venetian was brief (he returned to Paris in 1904), decadent extravagance contributed there to feed the Black Legend of Vargas Vila had already begun to grow like a hydra. In Paris, Bogota, Caracas, New York, said the pamphlet was immensely rich. Who lived like a prince. Who hated women, priests and nuns. That his misanthropy and hatred of the church were born Being the son of a parish priest and a nun depraved. That was an anarchist and helped with their money to the followers of Malatesta, financing assassinations and bombings against Dukes and Marquises. He was gay. Presiding over meetings of Satanism with his friends and accomplices. I was powerless and that this was the reason for his hatred of all living things. That was a hermaphrodite.

The mere enumeration of perversions and psychopathology that were awarded to Vargas Vila could serve to make the catalog of perversions and their slanderers psychopathologies: the traditionalist piety of his country, the old clerical circles of privilege swollen, full of resentment and hatred, unable to feel Christian love, disabled for reconciliation and kindness. Intellectuals in support of these critters did not mention even the name of Vargas Vila. They spoke of "expatriate", the "satanic", the "bastard", the "linguist contemptible", the "unnatural", the "blasphemous", "The Luciferian mendacious", the "enemy of peace, order and authority "" the pernicious decadent, "the" solvent ", the" degenerate. " Never did a literary criticism of his works, an analysis of their ideas, reasoned questioning of his thought, style or language. They had no value or moral grandeur and intellectual resources to do so. They came across the line, lower and pygmies. All they could oppose Vargas Vila was a string of vile slander.

Of course, the pamphlet was by no means perfect. His views were sharp, categorical, left no room for dissent. Devoid of intellectual modesty, was arrogant and conceited. He was convinced that his genius was unparalleled. It frequently praised himself an irritating manner. His ego was monumental. This gave his enemies plenty of material.

But the root cause of the grudge against Vargas Vila was his uncompromising anti-clericalism, his passionate defense of free thought. In the eulogy for his friend the poet Diogenes Arrieta (1897), in Paris, delivered this statement on Colombia, which has never forgiven


- Sleep in peace, friend, far from the monastic rule that defile us! Vargas Vila


always used all their firepower, his ferocious style and scathing virulent against the excessive privileges of the clergy and the Church, against the dogmatism and intolerance. Used phrases and metaphors that opened wounds incurable and then put salt in those wounds or acid burning of renewed oaths. It was a virtuoso of the blame and rant, at the service of secular thought.

His style was prophetic: he used big words, verbs and adjectives tremendous. Abstract concepts presented as mythological beings, with names in capital letters: Ambition, Hate, Hypocrisy, Greatness. Their sentences were terse. Their findings, proverbial. Paradox used as a bludgeon to crush his opponents. His phrasing was choppy, with arbitrary hiatus evoked disheveled style of Simon Rodriguez, but unlike him, never was folksy and familiar. It is sometimes said that it was too gimmicky, contrived, with a decadent taste ornate decorations, to D'Annunzio, but none of his opponents was unhurt and smiling after a discharge of such anthologies.

would be foolish to claim that all the work of Vargas Vila deserves admiración. En sus escritos hay mucha hojarasca, muchas extravagancias de poco mérito, muchas frases ruidosas y estridentes sin mayor substancia. Pero en aquellas líneas donde su talento fulgura, logra formular ideas propias y conceptos admirables. Es entonces cuando enseña, impresiona y apasiona.

Su estadía en París (1904) fue muy breve. El gobierno de Nicaragua lo llamó a cumplir funciones consulares en España. Allí, con Rubén Darío, integró la Comisión de Límites con Honduras ante el rey de España, quien era entonces mediador en el contencioso. Pero Vargas Vila no era hombre de cargos diplomáticos; pronto regresó a su trabajo creador. Se puso al frente de la edición of his books and after brief stays in Paris and Madrid he settled in Barcelona. It was there where it started, by agreement with the Editorial Sopena, the publication of his complete works.

This was one of the great publishing successes of those years. Vargas Vila came to enjoy very substantial income with this issue. Its popularity as a writer was immense. His name was not mentioned (not even mentioned today) in the anthologies, the stories of literature or articles of literary criticism. But his books circulated in taverns, in the corridors of the universities, the blacksmith, at the offices of trade, tailoring shops, including employees public services, the clientele of the hairdressers and butchers. Vargas Vila has been for that, as few, creator and teacher of popular culture in our America. I have found her books in spirit drinkers (Colombia), among packages of potato, in a cafe in Buenos Aires, in the port area, fueling talk of parishioners to the siesta, in the portfolio Post a Montevideo used to be carried from job to coffee Sorocabana Freedom Square, where a group of friends waiting for the intellectual debate of the evening, in a fish shop in Valparaiso, owned by interrupting the customer care to read me paragraphs of "The Caesars of decadence" with sincere enthusiasm, in a "fazenda" Brazil, where more literate mulatto was in charge of workers gathered to read some text "good for the soul" in a hair salon in Cuzco ( Peru), interspersed with fashion magazines and sports, for customers who paid for the shorn ("sitting, 10 soles, stand, 5 soles) may be illustrated, and of course, in my own school desk in Santiago Chile, when I founded a teen club conspirators and smugglers of forbidden books and blasphemous. Vargas Vila

toured Latin America in 1923. Visited Buenos Aires, Montevideo, Rio de Janeiro, Mexico, Havana and other major cities. Lectured very hectic and busy. Controversial book by the newspapers. The journalists were interviewing him outrageous. Caused a stir and clatter. The priests lectured from the pulpit to offer the eternal flames of hell to apostate who read books by this monster. This made explosively increasing sales of their works.

was at the end of this tour, in Havana, where Vargas Vila contracted a strange disease that affected his sight and which would eventually leave him blind. He returned to Barcelona, \u200b\u200bwhere he spent the last years of his life in complete solitude, without giving nor ask for mercy for their spiteful enemies. Died in 1933, when he began to take shape the terrible drama of the English civil war. The circles of anarchist and socialist workers read it avidly and enthusiasm, respected and recognized him as a teacher. And indeed, above all, Vargas Vila was always an apostle of libertarian ideas. This was the best of their ideology, because sometimes lost in the labyrinths of the nihilistic doctrines or search for "superman" of Nietzsche. Excites note that none of its major flaws made him lose his breath humanist.

wrote stories, novels, travel narratives, plays, history and notes aesthetics, lectures, articles of criticism and political essays. Abounds in all the love for freedom and passion for social justice.



CV (Stockholm, 1997).






Bibliography of José María Vargas Vila


's work Vargas Vila comprises one hundred volumes. There are two different editions of his Complete Works: Bouret (Paris-Mexico, abbreviated here as PM) and Ramon Sopena (Barcelona, \u200b\u200babbreviated here as RS). The latter is considered final. The "Complete Works" published in Buenos Aires in 1946 (two volumes), are just a selection of his most sold. It is not easy to determine the exact date of publication of some of his works (there are double issues with different titles for the same work, etc.). The following is a tentative list. A "?" next year, indicates that the date is uncertain.


1887 Aura or violet, Maracaibo, 1892, Bogotá, 1920, Paris, sf, RS.

Pasionarias 1887, album for my dead mother, San Cristobal. Emma

1888, Maracaibo, (in a literary publication.)

1889 Aura or violet; Emma; The irreparable, Maracaibo, 1898, 1918, 1920 and 1930, PM, Library of Novelists, 1934, RS, t6.
The irreparable
1889, Maracaibo (in the newspaper Ecos de Zulia). The 1892

Providenciales, New York.

1895 Flor de fango, Paris, 1918, PM, Library of Novelists, 1918, RS, t 14. Ibis

1900, Rome, 1911, RS, t 2, 1917, Paris.

1900? At dusk, Paris.

Alba 1901 red, Paris, 1919 and 1930, RS, t 4. 1901

roses in the afternoon, PM (Library of Novelists), 1933, final edition, RS, t 13. 1902

Before the barbarians: the Yankee. Behold the enemy, New York. 1902, Paris, 1923 and 1930, RS, t 55. 1902

flakes of foam, Paris, 1918 and 1923, PM, Library of novelists, 1930, RS, t 38.

1904 The divine and human, Paris, 1917, ibid., 1920 and 1930, RS, t 29.

1906 The seed, Paris, sf, definitive edition, rs, t 1. 1906

red Laureles, Paris, 1921, ibid., 1921, RS, t 44.

1906? The song of the sirens in the seas of history, RS.

1907 The decline Caesars, Paris, 1913, 1936, RS, t 34.

1909 The road to success, La Habana, RS, t 10.

1909 The Roman Republic, Paris, sf, RS, t 36.

1910 The conquest of Byzantium, RS, t 11.

1910 The Voice of hours, Barcelona, \u200b\u200b1920, final edition, rs, t 18.

1910? Capitol Men and crimes, RS.

1911 The pace of life is reason to believe, PM; sf, definitive edition, rs, t 33. 1911 Orchard

agnostic books a loner, RS, 1912, PM and RS, t 43. Mystical Rose

1911; months nouvelles, Barcelona.

1911? Ibis, a novel, complete edition, Mexico.

Policies and historical 1912 (selected pages), PM.

1912? The Roman Empire, unpublished work, Barcelona, \u200b\u200b1936, RS, t 54. Archipelago 1913

sound, symphonic poems, PM, 1930, RS, t 19. Ars 1913

verba, PM, 1921, RS, t 42.

1913 In the brambles of Horeb, PM, 1930, RS, t 41.

1914 The soul of the lilies, PM.

1914 The Thinking rose, Paris, 1923, RS, t 40.

1914 The death of the condor, the Poem of the tragedy and history, Barcelona 1914, 1935, final edition, rs, t 37.

1914 The outcasts, Paris, 1926, ibid. (Library of Novelists), sf, RS, t 16.

1914 Word of warning and combat, PM, 1921, final edition, rs, t 39. 1915

preterite, Foreword by R. Viso Palace, PM, 1921 and 1930, RS, t 46.

1915? Red hourglass, Barcelona, \u200b\u200b1916, 3rd. ed., Barcelona, \u200b\u200b1921 and 1930, RS, t 47.

1915? At the summit, Barcelona, \u200b\u200b1916, ibid.

1916 The Job dementia: novel, Madrid, 1930, RS, t 15. Selected Prose

1916, Barcelona, \u200b\u200bRS, t 51.

1916? Maria Magdalena (novel), Mexico. 1917

Before the barbarians (the United States and the War) the Yankee: this is the enemy, RS, 1918, revised and enlarged, RS.

1917 The White Swan (novel psychological), Barcelona. Eleonora

1917 (novel of artistic life), Barcelona.

1917 The disciples of Emmaus (novel intellectual life), Barcelona, \u200b\u200b1923, RS, t 7.

1917 Mary Magdalene lyrical novel, RS, t 5. Rubén Darío

1917, Madrid, 1922, final edition, rs, t 35.

1917? The Garden of Silence, Barcelona.

1917? Hours reflective, Barcelona, \u200b\u200b1923, RS, t 26.

The aesthetes of Teópolis 1918, novel, Madrid, 1922, RS, t 8. 1918 Pages

chosen, literature, PM.

1918? The udder of a she-wolf, Barcelona 1920, final edition, rs, t 28.

1919 The Minotaur, a novel, RS, t 12. 1920

lion cub (hardy souls novel), RS, 1930, revised and corrected by the author, RS, t 30.

1920 From the vineyards of eternity unpublished work, RS, t 25.

1920 From his lilies and his roses, Barcelona, \u200b\u200b1931, RS, t 17.

1920 The end of a dream: unpublished novel, Barcelona, \u200b\u200b1920, 1936, RS, t 27. Free 1920

aesthetics, RS, t 32. 1920

Salome poem novel, definitive edition, rs, t 24). 1921 Bellona

idea orbi, Barcelona, \u200b\u200b1936, RS, t 48.

1921 The Garden of Silence: lyric tragedy, RS, t 43. 1921

Prosas-lauds, Barcelona 1931, RS, t 45. 1922

life gestures, unpublished work, RS, t 53. 1922

My best stories, novellas, Madrid. Saudades tacit

1922, unpublished work, RS, t 49. 1923

Nemesis, Mexico.

1924 before the last sleep (pages on a formulary), PM, Library of novelists.

1924? My trip to Argentina, romantic odyssey, Buenos Aires (Biblioteca Major Works, 21).

1926 The issue of religion in Mexico, Mexico.

1926 The Soviets, with letter-preface to D. Oscar Pérez Solís. Barcelona. 1927 Odyssey

Romantic daily trip to Argentina, Madrid (Unpublished Works).
Dietary
twilight 1928, Madrid, 1928 (Unpublished Works, II).

1928? The ninth symphony, a novel, Madrid (Unpublished Works). 1930 Lirio

black. Germania, definitive edition, rs, t 23. Red Lily

1930. Eleonora, RS, t 22. About 1930

dead vines, definitive edition, rs, t 3. Afternoon calm

1930 (unpublished work), Barcelona, \u200b\u200bStock Idea, American Authors section. White Lily

1932. Delia, definitive edition, rs, t 20.

1935 The teacher, La Habana (Posthumous Works).

1937 The jewel mirobolante (views parade), Guayaquil, Ecuador (Posthumous Works).

1938 José Martí: Apostle-liberator, with a preface of Ramon Palacio Viso, Paris (Posthumous Works).

sf The path of souls novellas, RS, t 31. Sf

Historical and Policy, RS, t 50. Sf

Symphonic Poems, Barcelona. Pollen sf

lyrical, conferences, RS, t 52. Sf

Shadows of Eagles, RS, t 9.



CV (Stockholm, 1997).









Some readings on


Vargas Vila Andrade Coello, Alejandro: Vargas Vila, critical eye of his works: "Aura or purple" to "The pace of life." Quito, 1912.


Besseiro, Victorio Luis: A free man: Vargas Vila, his life and his work. Buenos Aires, 1924.


Botero, Ebel, "A man in black and white: Vargas Vila", in Cultural and Bibliographical Bulletin, Banco de la República, vol. VIII, no. 5, Bogotá, 1965, pp. 671-674.


Castañeda Aragón, Gregorio, "Vargas Vila Things," in Journal of Atlántico (Barranquilla, Department of the Interior. The Atlantic, no. 1, December 1958), pp. 119-121.


Cejador, Julio: History of the English language and literature. Madrid, 1918, vol. 9.


Uribe Escobar, Arturo, "Vargas Vila was resentful?", In Cultural and Bibliographical Bulletin, Banco de la República, vol. VIII, no. 5, Bogotá, 1965, pp. 679-683.


Giordano, Alberto: Vargas Vila: his life and thought. Buenos Aires, 1946, ibid., 1949.


Henríquez Ureña, Max: Brief history of modernism. Mexico - Buenos Aires, 1954, pp. 327-328.


Maya, Rafael: "Chronicle of Vargas Vila", in Cultural and Bibliographical Bulletin, Banco de la República, vol. VIII, no. 5, Bogotá, 1965, pp. 656-662.


Miramón, Alberto: "The First literary production of Joseph Ma Vargas Vila, "in Cultural and Bibliographic Bulletin, Banco de la Republica, vol. VIII, no. 5, Bogota, 1965, pp. 675-678.


Ortega, Joseph J.: History of Colombian literature. Bogota 1934.

Palace Viso, Ramón: Vargas Vila, y su su life work. sl, sf


Panesso Robledo, Antonio: "A stylistic point - Vargas Vila: Shape and ideas," in Cultural and Bibliographic Bulletin, Bank of Republic, vol. VIII, no. 5, Bogota, 1965, pp. 663-665.


Sánchez, Luis Alberto, "Vargas Vila," in Cultural and Bibliographic Bulletin, Bank Republic, vol. VIII, no. 5, Bogota, 1965, pp. 690-700.


Rioseco Torres, Arturo: "Francisco Contreras and Vargas Village" in Hispania, Stanford University, California, vol. XVI, no. 4, Nov.-Dec. , 1933 pp. 399-400.


Ugarte, Manuel: "Prints of Vargas Vila," in Cultural and Bibliographic Bulletin, Banco de la Republica, vol. VIII, no. 5, Bogota, 1965, pp. 684-689.


--- "José María Vargas Vila," Latin American Writers in 1900. Mexico, 1947, pp. 231-242.


--- "Several juicio about him," Vargas Vila, Jose Maria, The insanity of Job; novel. Madrid, 1916, pp. 168-223 (Works, Sopena, t 1).


Vidales, Luis: "Introduction to the critique of Joseph Ma.Vargas Vila", in Cultural and Bibliographical Bulletin, Banco de la República, vol. VIII, no. 5, Bogotá, 1965, pp. 666-670.




Carlos Vidales (Stockholm, 1997).

Medication For Cough And Phlegm For Baby

READING OF PALMS WILD WILLIE FAULKNER.

A reading of The Wild Palms by William Faulkner
August 12, 2008 News of the background that have triggered a situation which is counting on detail, which provides multiple digressions, going close from multiple viewpoints, using a dissecting microscope to view a trivial detail or, conversely, distances to heights are staggering to provide the complete picture of an event, not always central. Is also lost his passion for landscapes and subplots, all moved by the authority of a pristine style. Or is this appreciation of spatial and temporal jumps, which require the reader to pay particular attention being if you want to understand and reconstruct mentally the linearity of the narrative. The Wild Palms [i] novel published in 1939 is another example of the complicated narrative Faulkner. As the same set, this novel is a kind of aesthetic counterpoint. "[Ii] This counterpoint rhythm gives a narrative that otherwise the structure would not be worthy of the subject being treated For the complex structure, different voices narratives, digreciones, temporary breaks and the two stories running parallel, assemble the imbrincado map multiple characters that define men and women, which is limited and determind by two irreversible events of human existence: birth and death . And if there is an issue which linking the two stories, and two events this hopeless, that theme is loss and finding love. In this way, form and content go together in this novel to try to illustrate the complicated reality of man. [Iii] Two stories, two men, two women and two parallel events always marked by pairs of opposites.


"Two Stories"


The novel contains two parallel stories: that of a doctor who fled New Orleans with a married woman to involuntarily causing death when subjected to an abortion operation, so it is sentenced to fifteen years in prison, and a convict serving a sentence for theft and sent a boat to save a pregnant woman who has clung to a tree to avoid being swept downstream. For hours and days, man against wild impetuosity "Old" family name of the Mississippi River, with the sole purpose of getting rid of that woman who is about to give birth and get back to you proporsionaba security prison.


The first story grouped under the chapter called "The Wild Palms" begins at the instant before the disastrous end. The narrator introduces the reader to the problem of truth, through the constant questions about what Doctor hides to the couple who rented the house next door. This problem will be one of the themes of the novel and the main subject reflection and concern of the character of the Doctor, who has been obsessed with finding "the way of truth." [iv] This character occila all the time between the Doctor (father's commandment and institution) and man, and although not leading contains features that will be spreading through the rest of the male characters. In this chapter the narrator, although the novel is written in third person presents to the rest of the characters from the perspective of the Doctor. In the chapters that follow, for "The Wild Palms," the narrator is positioned in the perspective of the protagonist, Harry. In these chapters empienzan diversified topics as you go the narrative. And while the money and art are important the main theme is love. In this part of the novel the possession or lack of money is the determinant that charts the course of the protagonists. On the other hand, art is presented through paintings and sculptures Rittenmeyer Carlota. In both cases what is important is not the art object itself or the techniques employed, but the circumstances that lead a man to produce art, and what it means to be an "artist." [V] The main theme is love what Harry and Charlotte are looking for and want but once I found seems to be too much for them. Choosing the underground against the marriage, seek to preserve "the true love "but fail because the maelstrom that involves constant change of habitat in search of escape from routine,


leads to its own destruction. Almost like a Greek tragedy, both players end up in a jail and another dead. These two events are in the book atravezados image Recurrences of palm trees ravaged by the wind. And where the black stains everything. The wind and the palm trees leitmotiv function as representing the angst and confusion of the protagonists. In the final chapter of Harry will be haunted by this image that his senses will persist in bringing your mind. [Vi]




The second story chapters grouped under for "Old" are center stage at the Mississippi River. And like the money in "The Wild Palms," the river marks the path of a despotic and tyrannical subjecting "the prisoner" in his view. In this part of the book the narrator, now, take the perspective of "the prisoner" and features the protagonist hardships he suffered when he was ravaged by the waters and carried by the current. Here, the narrator constructs his narrative so that the time of the narrative and narrated time marking the IT infrastructures coexist between water soaking everything and being dried and smoked quietly. In this account also the main theme is love but seen extrecha relation to women. A "the prisoner" is interested and more concerned rid of the woman before she gives birth to seize the opportunity that the river offers to regain their freedom. Here, she is symbolically the possibility of love and paradoxically "the prisoner" only wants to get rid of it. In this sense it is not free, in any way, the last line of the novel. [Vii] In an ironic twist laws and mocking the story ends with "the prisoner" received ten years for attempted escape.


Both stories, narrated in parallel achieve not only narrative rhythm but also get us a more complete vision of love. Thus, as Faulkner reached in The Wild Palms a way to give an account of reality through a peculiar connection between form and content. [Viii]

"Two men"


In both stories the characters are constructed and male made so that they are victims of a marked depersonalization and passivity. Harry and "the prisoner" was detected in only the first to the whims of Charlotte and the second to the random destinations forge the river for him. Harry at least we know his name and who studied medicine under their father's command, like the Doctor. But "the prisoner" is kept hidden and only their name is reported his ingenuity as a reader. "The prisoner" is doubly literary and, if it is to some extent literary triple, because on one hand, like Don Quixote dangerously believes what he reads, and the other, their singular resemblance to Huck Finn and finally because indeed, he is a character in a novel. [ix] Despite this anonymity, paradoxically, "the prisoner" embodies the only character with a sense of ethics and morality, is the only one that comes out unscathed from the novel retains its dignity. Well, even though their only goal is to get rid of the woman and her baby will not abandon them, or leave to care for them until they are safe. The dignity of the prisoner is illustrated in the detail of clothing, another leitmotiv of the novel. Back to jail with the same prison uniform, worn but clean, is what makes the difference from the commissioner who, in a dirty maneuver adds ten years to his sentence.


Harry, data and many more are revealed through the different male characters, because as if it were a male character ezquizofrénico each forms a part of Harry's personality. For example, the Doctor has the profession and the reason comes down to it, the painting takes Rittenmeryer, of Flint suit and hang out with artists, the neighbor in the lake, the way they dress and submitting Buckner his wife to an abortion. In this section novel, clothing is also a leitmotiv that provides the reader with the pattern of changes in personality traits that Harry is gaining throughout the story. For example, if you read carefully the description by the narrator of Harry in the first chapter is exactly the description that the neighbor is in the fourth chapter. This dissemination of the figure of Harry canceling ends, as is everyone and anyone. Clearly this is evident when in the last chapter, the police referred to him always with different names, and correct it instead of merely nodded. Again, details are not just a matter of decoration but they are significant to rebuild la compleja estructura de la realidad humana.



“Dos mujeres”


En esta novela los personajes femeninos estan presentados desde las diferentes voces narrativas, todas masculinas y se pueden clasificar en tres tipos. En un extremo, está la mujer del Doctor, quien es descripta como una mujer “gris”, rígida y fría.[x] Todas la imágenes de ella que aparecen en la novela contienen la palabra “hierro” y son imágenes que trasmiten al lector la sesación de que esta mujer es una especie de estatua viviente.[xi] El que no tenga hijos acentua su carácter de frialdad. Sin embargo, en el capítulo final es quien le ofrece caritativamente un taza Harry coffee, compared to the very perocupado Doctor jail and not deal with dying Charlotte. This character is very akin to the character of the mother in The Sound and the Fury [xii]. If you want to think symbolically is likely that this type of woman represented in the literature Faulkner tradition.


At the opposite end is Charlotte, who is presented in the novel, as the woman who flees her marriage to her lover. Many times the narrator refers she does from the comparison with a prostitute. Recurrences also the image used is that of "women in pants," and no trousers man trousers woman but, as it were [xiii]. Again the leitmotiv of clothing appears. Here, meaning the active site that takes women from the passivity of man. Another feature is its status elsewhere artist encroaching humans. This character also has its twin in The Sound and the Fury as Caddy received similar description. For example, as she abandons her daughter Charlotte. And if you consider the words of Charlotte with respect to its big brother the possibility of incest also determines the character.


Finally, in the middle of these two extremes we have pregnant women who know little apart from his mother's condition. This significant female character remains faithful to "the prisoner." And although this paresca good paradoxically "the offender" no longer wants to flee the situation. Both


Carlota as pregnant women are responsible for unleashing catastrophe seemingly quiet lives of Harry and "punished." They are those who, somehow, give action to those men who had those lives before meeting them opaque . They offer the posibiliadad who know the love, but it carries risks such as not always lead to fruition. [Xiv] Thus, in the novel is constructed in detail to the female characters as they are crucial to the plot.

"Two events"


The two events mark the beginning and end of life in this novel are treated similarly. Both the nativity scene as in the scene after Charlotte's death from abortion, the narrator focuses more on male characters in women who are experiencing the situation at first hand. Harry and "the offender" are overwhelmed by the situation is women who take the initiative and dominate the scene. Two images run through these two scenes, first, the serpents that invade all while the woman is giving birth and, on the other, the blood stains as Carlota all waiting for death. Again appears in these scenes the leiv motiv clothing, never used as Carlota nightgown, [xv] now, and women wearing the amazement of "the offender" is a piece of cloth used to wash newborn. [xvi] These scenes lead both Harry as "the prisoner" stunned to the point that, the first delivered passively to the police and the latter does not express any sign of relief or joy at the birth of the child. At no time is stated clearly that the child is born or has died Carlota if the reader must infer the consequences that these two events mites.


These two moments of the novel marks the point of contact between the two stories and two milestones that articulate the plot. Not only because the issues are related but also as they are armed and built the scenes. From a structural point of view these two scenes are a mirror while reflecting the other.


As a final point by way of conclusion, then, the complicated and complex structure presents The Wild Palms, is determined as the only way to account for an equally complex and complicated reality. For as along the plot was seen, the events marking the camnino of life of human beings are too imbrincados and, if you like absurd as to represent linear and progressive manner. So, is that Faulkner is the structure that fits the theme, ie, find a way to express how the content and vice versa. Vivar Marcela






----------------------------------------- ---------------------------------------

[i] William Faulkner, The Wild Palms , Buenos Aires, Altay, 1999.

[ii] "That was a story: the story of Charlotte and Harry Rittenmeyer Wilbourne, who sacrificed everything for love and then lost it. I did not know they were going to be two separate stories, but after starting the book. When I reached the end of what is now the first section of The Wild Palms, suddenly realized missing something, that the story needed to focus, something to pick it up as a counterpoint in music. So I started writing "The Old Man" until "The Wild Palms" regained intensity. Then I interrupted "Old" in what is now the first part and resumed the composition of "The Wild Palms" until she began to fall again. I then give intensity to another part of its antithesis, which is the story of a man who conquered his love and spent the rest of the book running away from him, to the point of return voluntarily to the prison where he would be safe. There are two stories just by chance, such Once out of necessity. The story is that of Charlotte and Wilbourne. "Interview with William Faulkner in Paris Papers No 20 September-October 1956.

[iii] Stonum talking about the concept of captive movement says, "so the concept can contamplar art as a transcendent vision of life, art as a representation of the movement of life, art as a problem of recruitment and Metaform art as to investigate the value of cultural forms. "Gary Lee Stonum, Faulkner's career. A literary history inetrior, Mexico, Noema, 1983.

p. 30 [iv] William Faulkner, The Wild Palms, ed. cit .. P.16

[v] says in the novel: "there seen photographs and reproductions of such things in magazines and had looked WITHOUT ANY curiosity and without faith, as a slob who looks the picture of a dinosaur. But now it's hillbilly was before the monster and Wilbourne looking at the pictures: absorbed. Not representing the procedure or the color, do not say anything. It was like a wonder without enthusiasm or envy at the circumstances that can give a man the media and the leisure to spend his days painting such things and his nights playing piano and giving drink to people who do not know (and, in a case, at least) whose names or bothered to hear. "William Faulkner, The Wild Palms, ed. Cit. pg. 41

[vi] It says in the novel: "I could hear the jingle now invisible palms, the wild popping sound they made." William Faulkner, The Wild Palms, ed. Cit.
pág.277
[vii] says in the novel: "- Women! ..." said the plump convict. "William Faulkner, The Wild Palms, ed. Cit.
pág.321
[viii] Yankas says in his article: "Faulkner has created a novel technique but said a new reality in the drama between man and nature" Lautaro Yankees, "William Faulkner: the cosmos and adventure interior "in Athena, year 40, took cxlix, No. 399, March 1963. Page 66


[ix] Stonum says in his book: "that a writer take that responsabilidadlos values \u200b\u200btreated in his work, implies that he believes the written word has considerable power," Gary Lee Stonum, Faulkner's career. A literary history inetrior, ed. Cit. 156

[x] says in the novel: "She was deformed but not fat (not even as fat as the same doctor), who had begun to turn all gray and about ten years ago, as if the hair and skin had been subtly altered along with the tone of the eyes, the color of their suits at home possibly she chose to match "William Faulkner, The Wild Palms, ed. Cit.

p. 12 [xi] says in the novel: "I turned to run up the stairs, entered the bedroom where his wife sat up in bed on one elbow and watched him deal with his pants, his shadow cast by the lamp on the nightstand, grotesque on wall, monstrous, Tab shade (it) with some of Gorgona, by dint of tormenting slips rigid gray hair, gray on the face on the high-necked gown also looked gray, as if each of its participate clothes iron that hideous color of his relentless and invincible morality "William Faulkner, The Wild Palms, ed. Cit.

p. 17 [xii] William Faulkner, The Sound and the Fury, Buenos Aires, Mirasol, 1961.


[xiii] Dice en la novela: “- la mujer usa pantalones- le dijo- Es decir, no bombachas de señora, sino pantalones, pantalones de hombre. Quiero, decir le quedan chicos justo en los sitios donde a un hombre le gusta verlos chicos, pero no a una mujer, salvo que sea ella misma quien los use.” William Faulkner, Las palmeras salvajes, ed. Cit. pág 10


[xiv] Dice Onis en su artículo: “En la obra de Faulkner la relación entre hombre y mujer es casi siempre tortuosa. La más de las veces es la de la mosca debatiéndose en la tela de la araña, o la lujuria brutal”. Harriet de Onis, “William Faulkner” en La Torre, revista Univarsidad General of Puerto Rico, No. 12, October-December 1955. P. 16.


[xv] says in the novel: "Charlotte had her back, eyes closed, her nightgown (that pledge that he never had, never used) wound to his chest under the arms, the body is scattered, not abandoned, but rather, a bit tense. "William Faulkner, The Wild Palms, ed. Cit.


p. 267 [xvi] It says in the novel: "Once it got heated water from somewhere that he would never know and maybe she was also unaware until the time came, in part perhaps no woman known but that does not bother any women, the square of something between alpillera and silk. "William Faulkner, The Wild Palms, ed. Cit. p. 219

Cocoa Butter For Scars

THESE STEPS ..

These steps that lead me to nowhere,

Does Beyonce Have A Clothing Line Called Beyonce

WHY I LOVE THE SAVAGE DETECTIVES BY MARTIN GLASS ... THREE FALL

Why I love The Savage Detectives

Jump to Comments By Martin Glass

I've devoted several articles to 2666 simply because it is a great novel and has plenty of material to cut, but my favorite novels is Roberto Bolaño Detectives are still savages.

mid-2001, I already had in Mexico City almost three years, had published my first novel, had a good job and just move to the street Bucareli. A fever I lay in bed in that department, huge and empty, I skipped work and I decided to only book that I had not read: The Savage Detectives. He had bought along with other books, on the recommendation of Maristain Monica (who later time would do to Bolaño his last interview.) Of these books, The Savage Detectives had been in the end, perhaps the most volume. Immediately, I was surprised that the story written by a Chilean who lived near Barcelona began, not in the City, but precisely in the same street that I had moved.

seduced me, of course, the domain of a Mexican language which I then lived, the evocation of a mythic chose Mexico as a fertile territory to fire the imagination ... but what caught me was the excess (which is not merely extension): a novel six hundred-odd pages, yes, but which takes place in a span of twenty years in many different cities, with over fifty different narrators (some of them taken from real life), with a lot of stories and voices ... Impossible not impressed.

Bolaño tells lifetimes: records all the "bandwidth" of life. In this is diametrically opposed to Borges, whose strategy was to encrypt the fate of a man at a time when the life of this man, as if narrating that one moment he realized the entire life of that person. Bolaño not removed the body to the details, the twists and turns, and thus life in his stories seem, indeed, life, whimsical, full of meanders and uncertainties, downtime, breaks, dizziness, changes shipments ... It is not only Borges has written stories and then, as a matter of synthesis, has chosen this strategy, while Bolaño can develop more because he writes long novels is not that, say, as it does only Bolaño in the novels, it is also the afford to make such an impression on many of his stories, such as in "Life of Anne Moore" (phone calls).

... With Detectives Bolaño is located in the genealogy of Cortazar's Hopscotch (1963), a novel that owes much to Adam Buenosayres Marechal (1948), which in turn descends from two intersecting lines, Joyce's Ulysses (1922 ) and the Comedy of Dante (XIV century), and thus of Virgil and Homer. A genealogical line that recognize various pleasures that define me as a reader.

audacity, extravagance; story coral alternating emotions, no sadness pure, not pure joy, humor, sometimes absurd, often ironic or playful, rarely simple, unadorned prose unnecessary, with long periods and cadences attractive, street poet, who does not deny the orality; metaphors overflowing Overdeveloped; certain structural risk (open structures) disjunctive descriptions - type "in the room was such a thing, or maybe just one, or perhaps there was nothing" - to build an atmosphere, not mere inventory, a good balance between the vital and metaliterary; the digression as a strategy and a power of fable enormous, a large chain of small and large stories: all that I found in The Savage Detectives.


That surprised me from the art, in a more intimate level, the novel moved me with their nomadic character, whose life seems sad because it fails to take root anywhere. That was exactly the sentiment that began to emerge in me in those years (I still have two more live in Mexico City). Travel as a search. Life away from the place where you were born. Later, that feeling grew and weighed heavily on the decision to return to Argentina, after a very short step for Europe. In return, the first thing published was World Map (2005), a book with seven stories, in different shades, they wanted to play that fiber. Today I know that life does not stop anywhere because it is everywhere.

My reasons for returning from Mexico to Argentina were many, and not all clear at the time of return, so I ask, how much have had to do a reading of Roberto Bolaño in that decision? Perhaps reading Bolaño has something to do also for what could have continued writing in the City, which could tell personal story or make up there after I had done my little "novel abroad in Mexico" (empty bars, 2001) and after reading something like The Savage Detectives? To go on with other stories of exile and immigration? Did the Mexican language not as a game, but as their own? Perhaps it was time to return, to discover my true place, and perhaps read Bolaño helped me realize that.

Roberto Bolaño died on July 14, 2003. Today marks six winters. This short article does not arise from mere desire to pay homage, but of pure gratitude.

Playlist For Beach Vacation

HAYKUS ...

HAYKUS FALL THREE ...

Category (s): HAYKUS. Leaves falling

undecided in the fleeting time

of breezes.





fragile as dreams

that illuminate the morning.





than later this afternoon
the
only hear in the distance


World Clock

Women Use Oil And Bottles For Marsterbation

your hips ...

Your hips that dance

as

gentle breeze on the hill ...
your heart


as galloping horse running in the esplanade

..



Suddenly your waist

are

successive waves that shake my life

falling leaves in autumn,

gray sky in the winter, volcanic

sun of our dreams ...



you that ..

a sea of \u200b\u200bsilence,

whispers trembling still,

a breath lying on the plain,

your hand to greet me from the train

that some irrevocable,

to nothing of mirages ..



a lump in the throat, dry

breath, anxiety

your lips look



pilgrim rolling on the square sockets ..



A flash to tell me,

mere handful of ashes,

the ball of all possible paths,

the shroud of the farewell ...

voracious

your kisses I say,

in infinite time of the Aurora.

Diver

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SAILING BLIND ..

'm just blind

browsing in the wide and deep sea

your infinite silence ..



and my lips

furrowing your lean back like a gem


beating
fall to the bottom of the spasm, skin



throbbing flame against flame


browsing the waist above the breasts
me

observed below the delta of your nectar ambrosia

rivers,



way to the abyss of your ring of fire,

then just a word from you

saves me ...

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A SHADOW IN MILL LETTERS.

A tiger caught a fox, and he said:
- Me can not eat.
- The Emperor of Heaven has appointed me king of all beasts.
- If you eat me disobey his orders.
- If you do not believe me, come with me.
- Soon you'll see how the other animals fleeing to me.

The tiger agreed to accompany him, and as the other animals were, hurriedly escaped. The tiger thought he feared the fox. He did not realize that he fled.

Source: unknown

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EL TIGRE AND THE FOX. CAMPEADOR

El Cid in literature
exception of the documentary evidence of the time, some signed by Rodrigo Diaz himself, the earliest sources about Cid Andalusian literature from the eleventh century. The earliest works that we have news about him have not survived, while transmitted the bulk of them through indirect versions. In the Arabic sources are usually the Cid swore to the aliases of tagiya ('tyrant, traitor "), la'in (' damn ') or kalb ala'du (' dog enemy '), but we admire his fighting force, as in the testimony of the twelfth century the Andalusian Ibn Bassam, the only hint that Arab historiography refers to the Castilian warrior in positive terms, in any case Ibn Bassam usually refers to Rui Diaz insults, defy throughout his Al-Djazira Mahasin fi ahl al-Jazeera ... (Treasury of the beautiful qualities of the people of the Peninsula) with the expressions "Galician dog" or "to curse God." Here is the famous passage in which recognized his prodigious worth as a warrior: [34]

... was this misfortune [ie, Rodrigo] in his time, skill practice, by the sum of its resolution and the end of their bravery, one of the great wonders of God.

Ibn Bassam, Jazeera, 1109. [35]
is noteworthy also that he was never applied to Arab sources nicknamed sidi (master)-that between the Mozarabic led to "Cid" - he was a treatment restricted to Islamic leaders.

The Elegy of Valencia Alwaqqashí alfaqui was written during the siege of Valencia (early 1094). Between then and 1107 he composed his Manifesto Ibn Alqama eloquent about the unfortunate incident, which follows the fortunes of the estate of the Cid in Valencia. Ibn Al-Faraj, vizier of Al-Qadir, writes a story that is known to us or its title, in the moments before the conquest of Valencia by El Cid. Finally, as noted above, in 1110 Ibn Bassam of Santarém devotes the third part of his Al-Jazeera to explain its view of the Cid.

As Christian sources from the first mention certain about the Cid (in the Poem of Almería, 1147 / 8) references are tinged with an aura of legend, it was said he was never defeated. For news more faithful to their real life there is a chronicle in Latin, History Roderici (second half of XII century), concise and quite reliable, but with significant shortcomings at various stages in the life of the Cid. Along with the testimonies of Arab historians is the main source on the historical Rodrigo Diaz. In addition, history presents a Roderici Rodrigo Diaz always praised by its author, suggesting the neutrality of his account. Thus, commenting on the raid of the Cid lands of La Rioja, the author of the story of Rodrigo is very critical of the star, as seen in the way described and assessed their raid on La Rioja: [36]

[...] Zaragoza Rodrigo left with innumerable and very powerful army, and into the regions of Nájera and Calahorra, which were domains of King Alfonso and were subject to his authority. Fighting took Alberite decision and Logroño. Brutally and mercilessly destroyed these regions, encouraged by a destructive impulse and irreligious. He took a great booty, but it was deplorable. His cruel and ruthless devastation destroyed and ravaged all the land in question. History

Roderici, apud Fletcher (2007), pg. 226. Literature creation

soon invented what is unknown or completing the figure of the Cid, gradually contaminating historical sources with oral legends that came up to praise him and rob his biography of the least acceptable to the Christian mentality and the heroic model they wanted to set up, as their service to King Muslim of Saraqusta. Manuscript

Carmen Campidoctoris.Sus exploits were even the subject of literary inspiration for cultivated writers and scholars, as evidenced by Carmen Campidoctoris, a Latin hymn written eulogy in just over a hundred verses in the second half sapphic twelfth century sing the Cid became lauded as heroes and the classical Greco-Roman athletes. [37]

In this eulogy, and are not registered Rodrigo services to the king of the Taifa of Zaragoza, in addition, have provided unique fighting with other men in his youth to highlight their heroism, and it appears the reason for the gossips, which cause enmity King Alfonso, with the king of Castile is exonerated from liability in the clash and banishment of the Cid.

In summary, Carmen is a select catalog of the exploits of Rodrigo, for which preferred the battles pitched and disposed of their sources (and perhaps Roderici History najerense Chronicle) algal punishment, ambushes and sieges, forms combat involving a lower prestige. [38]


Playing the first folio of the manuscript of the Cantar de Mio Cid preserved in the National Library of España.De this time dates the first epic poem about the character: the Song of mine Cid, written between 1195 and 1207 by a cult author, scholar in the area of \u200b\u200bBurgos, Soria, the District of Calatayud, Teruel and Guadalajara [39] and knowledge of law. The epic poem is inspired by the events of the last part of his life (exile in Castile, battle with the Count of Barcelona, \u200b\u200bthe conquest of Valencia), conveniently recreated. The version of the Song Cid offers a model of moderation and balance. Thus, where an epic hero prototype would expect an immediate blood revenge, the hero in this work takes time to reflect upon receiving the bad news of the abuse of his daughters ("they say when you ge to the Cid Cid, / a grand thought and comidió ora ', vv. 2827-8) and seeks redress in a formal judicial process, rejects also act rashly in battle when circumstances suggest otherwise. On the other hand, the Cid has good and friendly relations with many Muslims, as his ally and vassal Abengalbón, which reflects the status of Mudejar (the "Moors of peace" in the Song) and coexistence with the Hispano community, of Andalusian origin, common in the valleys of the Jalón and Jiloca through which passes much of the text. [40]

The Legend of Cardeña Estoria or collects a set of news produced by the monks of the Monastery of the same name about the last days of Rodrigo Diaz, the embalmed of his body and the arrival of Jim with him to the monastery of Burgos, where was exposed sitting for ten years to be buried. This story, which includes components hagiographic supernatural and seeks to turn the monastery into a place of worship to the sacred memory of the hero and was incorporated into the Castilian chronicles starting with the different versions of the History of Spain alfonsí. In the Legend of Cardeña first appears the prophecy that God will grant victory to Cid in battle even after his death. [41] Among other things

developed legendary Cid's death around the monastery San Pedro de Cardena is the use of two swords with names: the call Colada and Tizon, who according to legend was owned by a king of Morocco and made in Cordoba. Since the Cantar de Mio Cid (one hundred years since his death) the tradition has spread the names of their swords and their horse, Babieca.


Rodrigo.Hasta Mocedades of the fourteenth century was fabled life as epics, but more and more attention to his youth, imagined with much creative freedom, as seen in the late Mocedades de Rodrigo, which tells how in his youth dares to invade France and overshadow the exploits of the French chansons de geste. The last epic poem he drew a haughty, very much in the period, which contrasts with the moderate and prudent person Cantar de Mio Cid.

From the fifteenth century is going to perpetuate the popular legend of the hero seated especially cidiano cycle of romances. His youth and his love for Jimena were developed in the romances, to introduce the sentimental theme in the whole story of his legend. Similarly, episodes that were added portrayed as a devout Christian gentleman, as the journey to Santiago de Compostela or charitable behavior with a leper, who, not knowing that God is proof (it is an angel become crippled) El Cid offers food and comfort. El Cid is configured, thus, as the perfect lover and example of Christian piety. All these passages form the basis of comedy Golden Age who took the Cid as a protagonist.

In the sixteenth century, and continuing with the poetic tradition of artistic romances develop, we were engaged in several highly successful plays, generally inspired in their own romances. In 1579 Juan de la Cueva wrote the play Death of King Sancho, based on the exploits of the siege of Zamora. This material was also based Lope de Vega to compose The battlements of Toro. But the most important theatrical expression based on the Cid are the two works of Guillén de Castro's Las Mocedades del Cid and The Exploits of the Cid, written in 1618. Corneille was based (at times to literally) in the work of English to compose Le Cid (1636), a classic of French theater.

Romantics eagerly picked up the figure of the Cid following the baroque romances and comedies: examples of nineteenth-century drama are The Oath of Santa Gadea, the Hartzenbusch and The Legend of the Cid, Zorrilla, a kind of extended paraphrase all the ballads of the Cid in about ten thousand verses. Late Romanticism wrote extensively reworking of the legendary biography of the Cid, as the novel El Cid (1851), Antonio de Trueba. [42] In the second half of the nineteenth century the genre derives the serial novelist, and Manuel Fernández and Gonzalez wrote a narrative of this character-based in his adventures and legends called El Cid, as Ortega y Ramón Frías.

In the theatrical modernism Eduardo Marquina takes issue with the release in 1908 of the daughters of the Cid.

appear in the twentieth century modern poetic versions of the Cantar de Mio Cid, such as those conducted Pedro Salinas, in verse, and Camilo Jose Cela.

latest critical editions of the Song, have returned to the rigor of the Song of literary publishing, as well, currently the most authoritative is that of Alberto Montaner Frutos, published in 2000 for the collection "Classic Library" of editorial criticism, revised Galaxia Gutenberg in 2007, Ballantine Books.

One of the great works of Chilean poet Vicente Huidobro is the feat of the Cid (1929), which as he himself is responsible for identifying, is a "novel written by a poet."

mid twentieth century actor Luis Escobar made an adaptation of Las Mocedades del Cid for the theater, titled Love is a runaway horse, in the eighties José Luis Olaizola essay published last hero El Cid, and in the year 2000, history professor and novelist José Luis Corral demystifying wrote a novel about the character called El Cid. In 2007 Agustín Sánchez Aguilar issued the legend of El Cid, adapting to a more current language, but not forgotten the epic of the exploits of Castilian knight.