Presentation of the book's literary practices conflict Enrique Falcon accompany Alfons Cervera, Alfonso Serrano ( Editorial The sheep red), Arturo Borra and Laura Giordani.
Wednesday March 23 at 19:30 pm. La Nau-
Vice President for Arts, Culture and Heritage
University Street, 2.
Valencia.
"Capitalism is in the process of domesticating one of the
forces that seemed to escape his power: the intellectual
protesters. The democratization progress,
therein, in the sense of "order" and compulsion: the development
expression techniques are passed through the ring
the state or the powers of money. Established
the reign of producer, what place leaves
forces protest, rebellion, utopia, ie
all those who clutter the job? Framed,
overwhelmed with prizes and awards as a fool
election, the intellectual give to you return
of honor. No one now has nothing to fear. "
(J.-M. Domenach)
Some fragments of love, anger.
2) Look in the face of despair and not lower my eyes.
So write.
11) COMMUNIA NON EST IDENTIFICATIO
Poetry current policy does not represent who are denied a voice.
should not supplant the wounded.
Just as it is absurd that the poem seeks the reader's identification with the victims, should never do political poet who writes from Europe.
should worry us that can be said of us that we raise the voice of those living in the gutters
history.
Our voice is our voice. If not, no hope.
40) BATTLE TACTICS
When our poems become too autonomous, we will intensify our membership in grassroots organizations and work in the neighborhood of writing workshops.
When our poems become painfully predictable, we will resume diving into the depths of consciousness.
beset
From this tension in the open, do not expect to be fully received and in any home.
41) should be highly concerned about what poetry is harmless now.
58) we are bogged down: Repaint
rotten wood BOAT
about to sink can not be content with the idea that sentimental naturalism of the poetry of yesterday, it has to happen today or naive realism who shows evident only predictable, or metaphysical point of being alive-as-class-wise, or that such ideologically impeccable academic poetry has lost all real contact with men and women of his time.
exhausted on the remains of a peacock, urban look, and completely immobile useless-crabs, dormice and owls. Two spans
below, removing the underground, earthworms while working.
Wednesday March 23 at 19:30 pm. La Nau-
Vice President for Arts, Culture and Heritage
University Street, 2.
Valencia.
"Capitalism is in the process of domesticating one of the
forces that seemed to escape his power: the intellectual
protesters. The democratization progress,
therein, in the sense of "order" and compulsion: the development
expression techniques are passed through the ring
the state or the powers of money. Established
the reign of producer, what place leaves
forces protest, rebellion, utopia, ie
all those who clutter the job? Framed,
overwhelmed with prizes and awards as a fool
election, the intellectual give to you return
of honor. No one now has nothing to fear. "
(J.-M. Domenach)
Some fragments of love, anger.
2) Look in the face of despair and not lower my eyes.
So write.
11) COMMUNIA NON EST IDENTIFICATIO
Poetry current policy does not represent who are denied a voice.
should not supplant the wounded.
Just as it is absurd that the poem seeks the reader's identification with the victims, should never do political poet who writes from Europe.
should worry us that can be said of us that we raise the voice of those living in the gutters
history.
Our voice is our voice. If not, no hope.
40) BATTLE TACTICS
When our poems become too autonomous, we will intensify our membership in grassroots organizations and work in the neighborhood of writing workshops.
When our poems become painfully predictable, we will resume diving into the depths of consciousness.
beset
From this tension in the open, do not expect to be fully received and in any home.
41) should be highly concerned about what poetry is harmless now.
58) we are bogged down: Repaint
rotten wood BOAT
about to sink can not be content with the idea that sentimental naturalism of the poetry of yesterday, it has to happen today or naive realism who shows evident only predictable, or metaphysical point of being alive-as-class-wise, or that such ideologically impeccable academic poetry has lost all real contact with men and women of his time.
exhausted on the remains of a peacock, urban look, and completely immobile useless-crabs, dormice and owls. Two spans
below, removing the underground, earthworms while working.
61) PORTRAIT OF THE NEW LITERATURE
Our contemporary poetry available to the public more receptive to exist, since what
compose their own poets, loaded with knives.
also have our last poetry of the community trained culinary
literary critics. To hide: label makers for the same ties.
62) The least warned purpose of much of the recent English poetry is
predispose to resignation.
64) We shall return to this in the center of our literature.
not only will save the device.
66) OUR "COMMITMENT"
i. Our literary effort is "committed to the language (and much less, to the office or with the work itself).
ii. Our commitment is literary as political and spiritual burden.
iii. The expression of such speech is absolutely loaded language.
iv. Our artifacts are words. V.
The work that we sink to get what they seek is from the base material
of language and speech records.
vi. Among its many possibilities contemplate the distortion of language as parteconstitutiva a strong position politically and spiritually in the midst of the world.
vii. But still stuck squarely in the ductility of this material language, we are not so
any "committed to the language."
Enrique Falcón (Valencia, 1968) to date has published books of poetry The day I called Pushkin (Ediciones del Ayuntamiento de Sevilla, 1992), The march of 150,000,000: 'The Pillage' (Rialp, Madrid , 1994), The march of 150,000,000: "The Sack" and "The Other Residents'
(Germania, Valencia, 1998), AUTT (Flood, Huelva, 2002), 9 poems (Universitat Valencia, 2003), ammonal (Idea, Tenerife, 2005), Love, anger (Editions August 4, Logroño, 2006), for a while injured (Amargord, Madrid, 2008) Red Tavern and Other Poems ( Baile del Sol, Tenerife, 2008) and the final song of the book "The March of 150,000,000 poem, 'The Looting
', 'The Other Residents', 'For those who are still alive', 'The Fall of God' and "Song of E '(Eclipse, Zaragoza, 2009)
until 1994 was part of critical equipment" Alicia under Zero "responsible for the book Poetry and Power (Ediciones Bajo Cero, Valencia, 1997). He was a member of the editorial board of the magazine "Red Moon" and coordinator of the volumes do not bend your knees, seven critical projects in the recent English poetry (Universidad de Chile, Santiago, 2002), Poetry and disorder (Setbacks, Madrid, 2007) and Once critical poets recent English literature (Dance Sol, Tenerife, 2007).
Our contemporary poetry available to the public more receptive to exist, since what
compose their own poets, loaded with knives.
also have our last poetry of the community trained culinary
literary critics. To hide: label makers for the same ties.
62) The least warned purpose of much of the recent English poetry is
predispose to resignation.
64) We shall return to this in the center of our literature.
not only will save the device.
66) OUR "COMMITMENT"
i. Our literary effort is "committed to the language (and much less, to the office or with the work itself).
ii. Our commitment is literary as political and spiritual burden.
iii. The expression of such speech is absolutely loaded language.
iv. Our artifacts are words. V.
The work that we sink to get what they seek is from the base material
of language and speech records.
vi. Among its many possibilities contemplate the distortion of language as parteconstitutiva a strong position politically and spiritually in the midst of the world.
vii. But still stuck squarely in the ductility of this material language, we are not so
any "committed to the language."
Enrique Falcón (Valencia, 1968) to date has published books of poetry The day I called Pushkin (Ediciones del Ayuntamiento de Sevilla, 1992), The march of 150,000,000: 'The Pillage' (Rialp, Madrid , 1994), The march of 150,000,000: "The Sack" and "The Other Residents'
(Germania, Valencia, 1998), AUTT (Flood, Huelva, 2002), 9 poems (Universitat Valencia, 2003), ammonal (Idea, Tenerife, 2005), Love, anger (Editions August 4, Logroño, 2006), for a while injured (Amargord, Madrid, 2008) Red Tavern and Other Poems ( Baile del Sol, Tenerife, 2008) and the final song of the book "The March of 150,000,000 poem, 'The Looting
', 'The Other Residents', 'For those who are still alive', 'The Fall of God' and "Song of E '(Eclipse, Zaragoza, 2009)
until 1994 was part of critical equipment" Alicia under Zero "responsible for the book Poetry and Power (Ediciones Bajo Cero, Valencia, 1997). He was a member of the editorial board of the magazine "Red Moon" and coordinator of the volumes do not bend your knees, seven critical projects in the recent English poetry (Universidad de Chile, Santiago, 2002), Poetry and disorder (Setbacks, Madrid, 2007) and Once critical poets recent English literature (Dance Sol, Tenerife, 2007).
anapmares@gmail.com 
0 comments:
Post a Comment