Archivo de la categoría: Poesía
05/01/22: Poeta en el Edén/ Alfredo Fressia
25/12/21: Navidad/Alan Smith Soto
21/12/21: [Um animal]/ Amálio Pinheiro (trad.)
Um animal
Alcança uma linda flor
Uma palavra escutada
Enterrada entre a poeira
Inabitável por agora
Uma palavra que te possibilitou viver
Em meio à humilhação
E o desamparo
Uma palavra retorcendo-se muda
Dentro do lodo
Dessa folha um fruto o ramo a árvore o mundo
Tudo isso orfandade
Uma palavra saída da tua boca
E contra nosso peito
Dardo e tocha fumegantes
Uma palavra que é deste mundo
Ou de qualquer outro
Embora intensamente vivida
Incandescentemente vivida
Melhor diríamos agora
Uma rede inflamada
Cobrando-te de cabo a rabo
Para sempre
Pedro Granados, A mirada (a publicarse próximamente). Versión de Amálio Pinheiro*
[Un animal]
Un animal
Llega hasta la más bella flor
Una palabra escuchada
Enterrada entre el polvo
Inhabitable por ahora
Una palabra que te permitió vivir
Entre el absurdo
El desamparo
Una palabra retorciéndose muda
En medio del lodo
De la hoja el fruto la rama el árbol el mundo
Todo ello huérfano
Una palabra salida de tu boca
Y contra mi pecho
Dardo y cigarro humeantes
Una palabra que es de este mundo
O de cualquier otro
Aunque intensamente vividos
Incandescentemente vividos
Mejor diríamos ahora
Una trampa una red inflamada
Cobrándote de cabo a rabo
Para siempre
Pedro Granados, La mirada (Buenos Aires: Buenos Aires Poetry, 2020)
20/12/21: Benjamín Chávez por Benjamín Chávez
18/12/21: SENSORY OVERLOAD / SOBRECARGA SENSORIAL A COLLECTION OF POEMS BY SASHA REITER
Nueva York Poetry Press has published Sensory Overload / Sobrecarga sensorial, a collection of poems by the American poet Sasha Reiter, and translated into Spanish by the Peruvian poet Pedro Granados.
In his introduction, Granados writes that “With the poems in this new book, Sasha Reiter takes to another level what he had already achieved in his first collection. Fundamentally, Reiter delves into a kind of intelligence and sensibility –which does not shun humor– in the manner of a Paul Gauguin or a César Vallejo; that is, rather post-anthropocentric. Or, in other words, where the myth is not pausterized, but is alive, gathering people together and fostering a live community. This alone sets Reiter apart from a legion of young and not so young poets, attentive in a unique way to themselves or to an oversized private space. Sasha Reiter’s poems not only make up the Bronx but also –from a cultural perspective and not merely a geographic one– Peru and, likewise, the academy placed together on the stage. They are, first of all, for eating, for countering a vast creative anemia prevailing throughout the entire world.
Introduction by the Peruvian poet Pedro Granados
Sasha Reiter (born in 1996) is a young poet of unusual talent. Despite his age, he is a poet of keen vision, maturity and profound wisdom who possesses the uncommon ability to turn his personal experiences into universal ones. This can be appreciate it in the poems collected in his first book, Choreographed in Uniform Distress/Coreografiados en uniforme zozobra, published in a bilingual edition (English-Spanish) by Artepoética Press. His fine workmanship of the image as well as his particular vision of the surrounding world, make the reading of this book a worthwhile poetic and intellectual adventure. This book has already attracted considerable attention and has received many excellent and encouraging comments from several poets and literary critics, not only for the unique voice he offers us, but also for a singular poetic practice characterized by a mixing of registers and styles.
For example, Carlota Caulfield, Cuban-American poet and Professor in Creative Writing and Latin American Studies at Mills College, wrote that “Choreographed in Uniform Distress introduces a young writer of stunning linguistic energy and maturity. What is outstanding in this collection is the clarity of its imagery and its musicality. Reiter’s voice is attentive, open and sensuous. Whether talking about dreams and memory, everyday e uxperiences or a cellphone obsession, the poet offers us skillful and poignant images. I delight in the poems where elements of our modern world float, sometimes gently and others fast-paced, weaving not only personal, but also other’s experiences into stories. Choreographed in Uniform Distress/Coreografiados en uniforme zozobra is a remarkable debut collection. Reiter’s poems merit a wide audience.”
Regarding Reiter’s first book, the Argentinian poet and literary critic Luis Benítez, has written that “Paraphrasing the author, we can say that words come easily to a poet. However, the quality of those words, the exact combination of them, the play of reverberations, the alternations and modifications of meaning that are produced among the chosen words demonstrate that Sasha Reiter is a genuine poet. Reiter’s poetry is the evolution from the question to the answer, and from that to the next question. The author understands, very precisely, that contemporary poetry is not a system closed upon itself, but very much to the contrary, a tremendous and risky opening place which directs the reader toward the limits of language and even propels him/her beyond them. Reiter is a builder of meanings that, taken together, form a multi-faceted interrogative, questioning the condition of modern man.”
For his part, American poet and Distinguished Lecturer at the City University of New York and Editor of Review. Literature and Arts of the Americas, Daniel Shapiro, has stated: “Sasha Reiter’s poems display authority and pacing and construction as they meander through the idiosyncrasies of daily life. A promising young voice.” And Stephen A. Sadow, literary critic and Professor Emeritus at Boston’s Northwestern University, has written that “Sasha Reiter’s work is deeply rooted in the American tradition, but more in that of its singers than its poets. Reiter shares the feelings of despair and world-weariness of a Delta bluesman or a country and western singer. His poems are like ballads that tell stories reminiscent of the young Bob Dylan, the young B. B King and the young Johnny Cash. There is also a dose of the self-deprecation practiced by American Jewish comedians like Woody Allen and Rodney Dangerfield.”
Born in New York, raised in the Bronx, the son of an Argentinian father and a Peruvian mother, and having attended a public school with a predominantly Latino and Jewish population, Sasha experienced firsthand –according to his own words– “the metaphorical otherness of being both Latino and Jewish.” On this level, his poetry is the reflection of both his personal experiences as well as the expression of his political and social beliefs regarding the symbolic, and sometimes very real, walls that divide and separate peoples of different backgrounds, cultures, and mindsets.
With the poems in this new book, Sasha Reiter takes to another level what he had already achieved in his first collection. Fundamentally, Reiter delves into a kind of intelligence and sensibility –which does not shun humor– in the manner of a Paul Gauguin or a César Vallejo; that is, rather post-anthropocentric. Or, in other words, where the myth is not pausterized, but is alive, gathering people together and fostering a live community. This alone sets Reiter apart from a legion of young and not so young poets, attentive in a unique way to themselves or to an oversized private space. Therefore, today and in the projection of this poetry toward the future, we do not find utopias or dystopias in a humanistic way; but, instead, a plunge –with eyelids wide open– toward another instance or condition of language: a knife which cuts flesh, seasons it slowly and then hands it out. Sasha Reiter’s poems not only make up the Bronx but also –from a cultural perspective and not merely a geographic one– Peru and, likewise, the academy placed together on the stage. They are, first of all, for eating, for countering a vast creative anemia prevailing throughout the entire world.
15/12/21: IMAGINARME EL MAR
14/12/21: Trilce cuarenta y cuatro
Sol contra mi ventana
Potente y luminoso
Solo
El de este piano
Arrimante
Como diría Vallejo
En Trilce cuarenta y cuatro
Piano oscuro
Qué otras palabras
Para este Sol
Desnudo
Calato, en el Perú
Arrimante
Él mismo
Arrimado a mi ventana
11/12/21: TRILCE 100 ANOS
07/12/21: Blog de Pedro Granados – 2022
Aunque ahora mismo es
Fuente de consulta
Desde el 2022 será objeto de estudio
Una auténtica cachina de hallazgos
Gratis, aunque con muy alto costo personal
Para el lector
Que no es obligatorio revelar
Se encontrarán desde los tirantes malolientes
De Martín Adán
Hasta una grabación, en Meta,
De Vallejo mostrándonos su Trilce
Nada menos ni nada más
Ningún poeta de los ochenta
Menos, alguno de los noventa
Tampoco siquiera medio de los dos mil
Aunque, a partir de 2022,
Acaso pueda acaecer alguna sorpresa
La cual no será revelada por la prensa
Atada a sus cálculos y banalidades
Pero sí por este mismo blog
Como que nacemos de cinco huevos
Y no sólo de uno
Y como que los árboles se mofan de nosotros
Aunque evitando llamar demasiado
Nuestra atención
Y tal como ahora que me apechugo a ti, lectora
Sólo por reír o joder y dejar pasar el rato
Porque la poesía no tiene remedio
Porque ella al menos felizmente no lo tiene