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

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Country: Canada

Edition: First edition.

Version: 1

Paperback Book 78 pages, bound

15.24 cm x 22.86 cm,




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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.

Pistachio Treesfor Sale Portland Or

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






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[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,