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Monday, August 29, 2016

Víctor Lapuente Giné

Víctor Lapuente Giné
(source: Libre Mercado)
no copyright infringement intended

profesor de Ciencias Políticas de la Universidad de Gotemburgo; sus intereses principales son el análisis de políticas públicas, el funcionamiento de las administraciones desde un punto de vista comparado y las causas y consecuencias de la corrupción (fuente: El Diario). Aquí está su más reciente editorial publicado en El País: Poetas de Salamina






(Una Vida Entre Libros)

(Zoon Politikon)

Alma Guillermoprieto

Alma Guillermoprieto
(source: Daily Princetonian)
no copyright infringement intended


Mexican journalist writing extensively about Latin America for the British and American press; has worked for The Guardian, Washington Post, Newsweek (South America bureau chief), The New Yorker (as a freelance writer), etc.; published Samba (1990), The Heart That Bleeds (1994), Los años en que no fuimos felices: crónicas de la transición mexicana (1999), Al pie de un volcán te escribo (2000), Las guerras en Colombia(2000), Medellin 1991 (2000), Looking for History (2001), Mexico City 1992 (2002), Dancing with Cuba (2004), Garbage (2004), La Habana en un espejo (2005), Ciudad de Mexico 1949 (2007) [info source: wiki].






(Una Vida Entre Libros)

(Zoon Politikon)

Borges, El Tango Alegre

portada del libro inédito de Borges
(fuente: El País)
no copyright infringement intended


At its beginnings the tango was not sad, rather a joyful dance played by pairs of men (not by women). Far from being about the nostalgia for lost amours, the tango expressed full joie de vivre. At least according to Borges: el tango no surge en los barrios bajos, sino en los prostíbulos, las casas malas, donde había compadritos, de origen humilde, pero también niños bien buscando diversión. Los primeros tangos se tocaban con piano, flauta y violín. Después se agregó el bandoneón, de origen alemán. Si el tango hubiera sido orillero, popular, entonces el instrumento habría sido el instrumento popular por excelencia: la guitarra. A comienzos de siglo había parejas de hombres bailando el tango al compás del organito. Porque las mujeres conocían la raíz infame del tango y no querían bailarlo (El País).





A book by Borges, so far unpublished! It's just been printed by Lumen: El tango, cuatro conferencias. A book that mezcla erudición, sabiduría popular y humor para hablar no solo de la música sino sobre todo de su ciudad, de Argentina, de la vida de esos “guapos" (pendencieros) que protagonizan las letras tangueras. (El País).


Y otro espléndido articulo del País, donde Borges, Bolaño, Rosa Montero (entre otros ejusdem farinae) se encuentran: El otoño de las librerías.





(Borges)

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Friday, August 26, 2016

Ang Lee, a Much Faster Film Format for His New Movie






3-D, 4K ultra-high-definition, 120 frames per second: that's the new movie of Ang Lee, Billy Lynn’s Long Halftime Walk. Films have been presented almost exclusively at 24 frames a second since the 1920s (NY Times: Ang Lee Is Embracing a Faster Film Format. Can Theaters Keep Up?).









(Ang Lee)

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Did They Meet in Valladolid?





Neither evidence, nor testimony, just a possible temporal coincidence. It was in the spring of 1605. A British royal delegation was in Valladolid on a peace mission. Shakespeare could have been among them. And the nomadic Cervantes had just settled in Valladolid, together with his sister, niece, wife and daughter.


(Cervantes)

(Shakespeare)

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Thursday, August 25, 2016

Coelho Neto, Os Pombos (The Pigeons)

Pigeon Rhythm
(Rocco DiDonato Photography)
no copyright infringement intended

Quando os pombos sair, desgraça segue
(When the pigeons leave, misfortune follows)

A family of Indians somewhere in the immensity of Brazil. Indians, or rather caboclos, Brazilian métises, with their skin the color of copper. Husband, wife, their little son, and os pombos, the pigeons. The husband takes care of them. A straw hut, cabana de palha as it is named there, and nearby the pombal, pigeonry, amid the Brazilian métissage of bosques, plantações, aldeias, favelas, whichever. La cidad, the city, could be not so far, it doesn't matter, the distance is of hundreds of years.

The little son is dying. He used to be healthy, the sickness has come out of nothing. Is it fate? You cannot fight with fate. Or maybe is it a play of chance? Chance can be negotiated. It follows the rhythm of life, with sudden ups and sudden downs, at total randomness, you can see the signs if you know how to look around. A tree, a rock, the color of sky, can tell you things. Just follow their rhythms.

And the pigeons, you and them live as pairs. If they stay with you, there is a chance. if they leave, there is no more you can do.  Why are they leaving? Are they just little gods, or little demons, with power over your chance? Or are they just your pairs, too delicate to stand seeing your tragedy?

Right now still they did not decide to stay or to leave.

Eles vêm e vão, entrar no pombal e deixar em forma agitada, arrulhar em voz alta; eles circulam acima da habitação, olhar para as árvores, desceu sobre a palha da cabana, descer à terra em vôo em espiral (They come and go, enter the pigeonry and leave in agitated manner, cooing loudly; they circle above the dwelling, look at the trees, alighted on the thatch of the cabin, descend to earth in spiral flight).

And finally they leave.



A subtle little story written by Coelho Neto, this Príncipe dos Prosadores. I learnt a lot from it. Animism, pantheism? Maybe too big words, to describe a simple truth: one should look closely at the rhythms of nature. They tell you things. And you are part of it.

Are they gods, or demons, these trees and birds and clouds, and everything around? Maybe just your pairs. And they tell you things.


No terreiro de sua cabana, fita o pombal deserto, alargando a vista em busca de algum sinal de retorno das aves. Ao lado da mulher, que o descobre lá contemplativo, ainda tenciona chamar uma rezadeira após notificação de Joana em reposta à sua curiosidade de que se haveria cura para isso, a fuga dos pombos. Alguns momentos e Joana torna a casa e de lá rompe um grito de desespero, era a tragédia anunciada. Tibúrcio entra no quarto de onde parte o estridor e vê o filho morto e mãe ao lado desfeita em pranto. Fora, quando percebe o retorno dos pombos, desespera-se na sua revolta e derriba a machadadas o pombal, matando em seguida, entre as mãos convulsas, dois borrachos que recolhe do chão, indefesos e desfigurados. O conto é perpassado pela agonia e apreensão do casal e centra-se no tema da superstição segundo a qual a migração dos pombos é prenúncio de morte. A espera dorida pelo retorno das aves é interrompida pela falecimento de Luís, em razão do qual Tibúrcio extravasa sua dor, quando destrói o pombal. Assim, a esperança de o filho curar-se fica-lhe condicionada à permanência dos pombos.


(dedicado a Filipe Ponzi)



(Coelho Neto)

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Sunday, August 21, 2016

Mario Vargas Llosa, Los Dragones de Komodo





Indonesia, por lo visto, consta de diecisiete mil islas, cuatro mil de las cuales desaparecen cuando la marea sube y reaparecen cuando baja. Un puñado de ellas, en el mar de Flores, forma parte del Parque Nacional de Komodo. Es un lugar celebérrimo por la belleza de su paisaje, la riqueza de sus aguas con arrecifes de coral y miríadas de pececillos que atraen a buceadores de medio mundo, pero, sobre todo, por sus dragones. Quedan unos tres mil y parece que son contemporáneos de pleistocenos y dinosaurios, unos vejestorios que, por las condiciones climáticas de estos parajes, donde, dicho sea de paso, se han encontrado también los huesos del homínido más antiguo, han sobrevivido a todos los desastres geológicos que acabaron con las especies prehistóricas.

Leer más en El País.



(Mario Vargas Llosa)

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Coelho Neto

Coelho Neto (1864-1934)
O Príncipe dos Prosadores
(source: Portal Luis Nassif)
no copyright infringement intended

Brazilian writer (chronicler, folklorist, novelist, critic and playwright), politician and professor; probably the most widely read Brazilian writer in the first decades of the twentieth century; but, as the belle époque was fading and the Avant-Garde was coming in force, he became to be considered the symbol of the passé, and ruthlessly attacked, he and his oeuvre (famously targeted at the Semana de Arte Moderna in 1922)- info source: wikipedia. Well, that was so long time ago! Now both belle époque and Avant-Garde are old history. I have read a short story by Coelho Neto and it seemed to me extraordinary. I will come to it soon.





(dedicado a Filipe Ponzi)



(Una Vida Entre Libros)

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Saturday, August 20, 2016

Artur de Azevedo, As Paradas (The Stops)

Trolley Daze
(late 19th-century open car)
(source: Brooklyn Historic Railway Association via Asymptote)
no copyright infringement intended


...encontrou uma noite a mulher mais bela e mais fascinante que os seus olhos ainda viram, e essa mulher soriu-ihe meigamente e com un doce olhar convidou-o a acompanhá-la...
(uma peça de comédia sobre sonhos de amor e conexões perdidas)



(Artur de Azevedo)

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Friday, August 19, 2016

Artur de Azevedo

Artur de Azevedo
1855-1908
(source: O Nordeste)
no copyright infringement intended


Brazilian playwright, short story writer, chronicler, journalist and Parnassian poet, one of the representative authors of their belle époque; as a playwright he consolidated in Brazil the genre of comedy of manners (info source: wikipedia). I will try to put here some links to his works, though I found only 2 English translations (and I'm afraid they are not professional ones, rather amateurish - I will give anyway also the link to the original texts). I am interested in some of the authors of this Brazilian belle époque (interest raised by my friend Filipe Ponzi, by the way:) ). I'll come back later. Até breve amigos.



(dedicado a Filipe Ponzi)



(Una Vida Entre Libros)

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