Basal Ganglia Infarcts

memory poems of Miguel Hernandez / 3 trials

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Hernandiana year's end, Reasons flyer published three short articles about the poet's work Alicante on the belief that a poet is no better tribute paradise or purgatory of critical reflection. José Luis Zeron, Julieta Valero and José Antonio Expósito give us an assessment of speech and the poet's memory.

Miguel Hernandez in the light of this

José Luis Zerón

On October 30 Lucia Izquierdo Daughter of Miguel Hernández, manifested in daily Truth: "My reward is to see that Michael is modern poetry." These words coincide with the enthusiastic comments of the specialists in the work of Hernandez, who have not tired of this year highlight the absolute modernity of the poet Orihuela. Lucia Izquierdo is right in saying that Michael Hernandez is not a poet anachronistic. His poetry is alive and is now more than ever necessary, but do not share the blind enthusiasm of Hernandiana. Can we say that an author Miguel Hernandez is fully recognized by the new trends of literary criticism? Is it an author read and appreciated as it deserves the greatness of his works by poets that emerged in the recent years? I think not. At least it is not considered at the same level as other greats of the twentieth century Hispanic poetry and Machado, García Lorca, Cernuda, Juan Ramón Jiménez, Neruda, César Vallejo, Claudio Rodríguez, Gamoneda, Valente and Gil de Biedermann.

is not my intention to question the work of this great poet, a countryman of mine, whom I have honored many times, just trying to be realistic, and Miguel Hernandez said that reality has not now entered the poetic. My opinion is risky, I know it. I know it seems strange that one of the poets studied, glossed and celebrated of all time little interest in the new English poetry scene. But the contradiction goes to show that excessive tributes that has taxed the author of The ray that continues in recent years has created a fashion, but has not benefited the poet, who has been trapped in a perverse paradox .

Hernandiana exegesis increasingly inbred and unrelated to the poetic reality of the moment, has done little to undo this paradox, and the horde of loyal devotees who has sanctified the poet (forgetting that his work is universal and not their deeds) and handlers who have looted their memory, have even more convoluted. And to make matters worse are the imitators, who are legion. Roberto Bolaño says through one of his characters that Michael Hernandez is a good poet who loves the bad poets. It is true that Hernandez has influenced great poets like Joseph Iron, Claudio Rodríguez and Félix Grande and, therefore, the categorical statement of Chilean narrator may be crazy, but for me it is not. Few exceptions, poets often Hernandiana fans trying to steal the daily runs inventing a nonexistent poetics of pain models teacher reference. And the poetry of Miguel Hernandez is dangerously attractive because it offers remains inimitable be imitated. Here's the catch: those who try to imitate the authentic looking earnestly automatically get the opposite result expected: the sobreimpostación incur.

And finally we must not forget that the world has become a global entertainment and excessive. This is a time of drift, losses and uncertainties. Are not Utopias and times for heroics and no room for poetic drunkenness. Hence, a poet and Miguel Hernandez rejecting the conformist, a rebel seeks uncompromising passion, seem strange and even uncomfortable in our eclectic literary scene and resigned.

I do not think, and I hope I'm wrong, that the celebration of the centenary of Miguel Hernández end all topics which hinder their work and finish by placing the author of Orihuela in the place of honor it deserves in contemporary reality. It is early to make judgments, but I dare say that, except for some interesting contributions, the centennial celebration has been a confusing display commemorating the poets who participated, exegetes, artists, intellectuals, journalists, merchants, politicians, heirs of the poet and Hernandiana of all species. Miguel Hernandez has been present at events that have nothing to do with poetry, from sporting events and dining, to the celebration of the Feast of Moors and Christians and the Holy Week in his hometown. I do not mean that all participants have acted in bad faith in this ceremony of anything goes, I just think the disorder have been imposed, arrogance, opportunism and media saturation. Centennial creative contributions have not helped, I fear, to bring the work of the honoree and another to add more bolts to the prison of his biography. The most publications, exhibitions and music shows have not exceeded the aesthetic hagiographic or pamphlet and in almost all conferences of experts and converts Hernandiana last hour we heard the same rhetoric dithyrambic.

One of the assumptions of postmodern poetry is the abolition or death of the poetic subject and break the Gordian knot of authenticity. I know it is risky to think that the ruidismo of such radical claims on the crisis of language and identity bankruptcy heard the voice of a poet who devoted an uncompromising attention to the links between the world and words, between language and life, and defeated the rhetoric with a constant search for primordial expression. And no wonder the bleak and nihilistic poets, apostles of ugliness and fragmentation, as well as their opposites, the canons of the experience, with its rhetoric sotto voce and subtly ironic, suspicious of Orphic vocation is perceived in the Hernandiana poetic. You can also have some logic most demanding poets specifically poetic language, representatives of speeches called essential not identify with the poet's work Orihuela. What surprises me is that most authors, in theory, could be close to Miguel Hernandez, advocates a new social poetry and those who advocate an imaginative and lively language, do not recognize their influence and teaching.

Now is the time to show the life of Miguel Hernández. We must end once and for all the stereotypes, myths and fetishes that hide the true uniqueness of his poetry.

today What I find most admirable of Miguel Hernandez is their legitimate human aspiration to be recognized, their courage and tenacity, sense of wonder, the gift and the conviction to live passionately every moment, every event ("a love for all haunts me," he wrote) his search for a space of freedom between the routine and servitude speech rhetoric, his wisdom to integrate in a mental and psychological space visible elements of reality and, above all, overcoming ignorance and outdated ideologies without denying their roots and their capacity to devolve into all of life. The landscape where he grew steadily Miguel Hernández reported an earthy poetry in which the simplest elements of his sublimated sensitive about looking for the total alliance between the word and existence.

Miguel Hernández evolved from solitude to solidarity, but never denied himself. He was aware that authenticity is not at odds with the ethics form or aesthetics. He understood that you can not achieve a true ethical commitment if not given at the same time aesthetic commitment. Nor can there be a genuine aesthetic compromise if there is no ethical or moral support. So his poetry of war, except a few poems, not demagogic or circumstantial. Because Miguel Hernandez was a politically committed man, but above all he was a militant of the word. Its resources and poetic procedures are not inferior to the feelings expressed and know, because there is proof of this, that his poems did not arise from spontaneity or facility versifier, but a conscious reflection. The fervor does not waive the form or the emotion with intelligence. Absolute communion between the formal construction of the poem and revelation, "Chaos" does not ask aggression rule? "Said Jorge Guillén.

poetic theory in the very little he wrote Miguel Hernández find a lyrical and accurate text entitled "My concept of the poem" where the author blends the natural and the artificial, the enunciation and the ability under elliptical. Contains sentences that could have been written today: "What is the poem? A beautiful lie feigned. A true implied. Only hinted at, no one really seems to lie [...]. The poems are bare the anatomy of the poems And will there be anything more horrible than a skeleton? "

Miguel Hernández are qualities that not only prescribe but become relevant over time . I think particularly in the creative courage and the great freedom of human testimony. As a man, Miguel Hernández always gave the home side in the agora, in the muddy battlefields of blood in jail. Did not fold or at the time of death. As a poet he knew fusing the particular and the universal with mastery. Amalgamated word is revealing and critical consciousness, emotion, sentimental and aesthetic emotion. Always sought the light of dawn through the verb. His work, says Agustín Sánchez Vidal "is the result of fertilizing the original impulse creations educated." It was an avant-garde poet sensu stricto, but always tried to find a new language. And he found.

Just reading

Miguel Hernández in a caring and unbiased in tune with his approach to life and to admire their potential. Only then can we put it in the center of the conflict, which is where it remains, as the great poets of yesterday, today, as always.

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José Luis Zerón (Orihuela, 1965) is codirector of the journal empyema. He has published poems Solumbra clothing (1993), Fronds (1999) and The flight cage (2004).

Miguel Hernandez: pathos and fragility

Julieta Valero

(Summary of the lecture read in the centenary commemorations organized by the Cultural Association of Orihuela in the city, 10 November 2010)

In an interview in 1961, the great American poet Robert Lowell reflected from two authors on the issue, central to any poet, for all readers-from fine line between sentimentality distilled in terms of literary creation, and the mere denominationalism, the primary intimacy. Limits often subtle and yet organically abyssal in their artistic results. I quote: "I think that much of the best poetry it is [on the edge of sentimentality], for example, Laforgue, is hard to imagine a poet more extraordinary, charming [...]. If he had not dared to be sentimental not been a poet, I mean that his inspiration lay in that. There is a way to distinguish between false sentimentality, which is inflating a subject and attribute you do not feel emotions and use emotions, tender, tiny, naïve, that most people do not feel but that Laforgue and Snodgrass were able to use. I would say that is in them pathos and fragility, but this sounds very solemn ... There is thinning of the edges and a main artery running through the center order. "

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few poets of the twinning between life and work comes as free imposture, as unquestionably authentic radical as in the case of Miguel Hernández, beyond the agreements, some of them-that the wealth topificados work of scholars has concluded over the years. So perhaps forgive the inexperience of think aloud about an issue, as well as lexicalized in the case of Miguel Hernandez, definitely side, if one is analyzing and critically philological work, but ancillary, in my opinion, if you think the writing and the implications that this has the business of living.

Returning to the starting point, the thin red line that secretes sentimentality of deliquescence, one inevitably wonders how he could break down so I lived in writing, if such a quality that is so inclusive, and you choose, be developed biographical Having been chosen by chance to spend his life through several fault lines: the waived his creative vocation, which had to maintain a constant dialectic of survival with a family environment, environmental, literary, sociological, that of a historical hinge implosive ended up taking, but not ahead. How it was possible ... or perhaps how it could tear both vital sink does not become his talent. How even in the poems more likely to consciously pamphlet there are niches of a sense that rips and plays himself into the dead man. Quoting the poet himself ("And like a real vision of the unheard / sprout on nothing flocks of cities', 'Russia'), how much of Miguel Hernández is significant in human meaning and socially today, an example with he is spraying a whole without waste but I think, from the global hardness of the times, the extrapolated wildly and devastating portrait of human folly trace "Old men": "At times of poor digestion of these crows [...] / signed many lives depend pigeon. " Or initiation inevitable that the poem "Hunger": "Have This hunger, remember your past. " How, in short, can be both intimate and collective transcendence permanently. I still admire in human root and disturbing in its implications poetry of Miguel Hernandez's ability to maintain throughout his life a constructive tension between the inevitable individual condition and the equally avoidable social and emotional nature of man, that is which may arise, in my view, what we perceive as beautiful and as enduring: "A love for all haunts me / like you, and to all spills."

Pathos and fragility

But betray my own instincts if only that quality associated irreparable poet and very visibly committed Ray that does not stop, wind Village, Song and Ballads absence, the doubling of emotion Hernandez generations and generations of readers. The pathos naked, throbbing, protein and helpless at a time, is intrinsic to the poet, and leans, vibrates and concepts under the incarnation Perito en lunas, that fragility is daunting to me, all Hernández, even posts to share subjectivities there is a poem we all do-that, to put vallejianamente, hit me, me always sticks in the mother, and I want it instantly.

ME PLENTY OF HEART

Today I do not know I do not know how

today I am for punishment only,

today I have no friends,

today I have only forward

to rip the heart

rennet

and put it under a shoe.

Today greens that dry thorn,

today is a day of tears in my kingdom,

today on my chest download discouragement

lead discouraged.

I can not stand star

and I look for death by the hands

fondly looking knives,

and I remember that ax,

and think of the highest steeples

for a somersault quietly.

If not why? ... I do not know why,

my heart write a last letter,

a letter that I have there stuck,

would an ink of my heart,

a source of syllables, farewells and gifts,

and you stay here, the world I would say.

I was born in Bad Moon.

I have the pain of a single penalty

worth more than all the joy.

A love has left me with his arms folded

and I can not lay them to more.

my mouth Do not you see how disappointed,

that unhappy with my eyes?

The more I look the more I grieve:

cut this pain? Scissors?

Yesterday, tomorrow, today

suffering for everything

my heart sad goldfish bowl,

criminal dying nightingales.

I have plenty of heart.

Today discouraged,

me the most disheartened of men,

and most, even the most bitter.

do not know why I do not know why or how

I let my life every day.

belongs to that extremely important period in the evolution of the poet, which covers 1935 and the first half of 1936, it connects with the end of writing The ray that continues , and where they intensify their tragic and painful vision of existence and social consciousness.

More here (always with the passions) of my appreciation of this text I think his poetic depth out of the ordinary has a lot to do with a resource that Hernandez handled masterfully, perhaps because she accepts his extraordinary ability to speak from the link from the entrainment with the other, I mean the use of the distinctive features of orality and, more specifically, the automatization of different speeches repeated phrases, idioms, syntactic own colloquial speech of our day to day ... The poet des -topifica our eyes and forces us to look at the message itself (Wonders of the poetic function) allows us to recover intimacy with our language. The whole poem is a masterful display of this quality alcagüetesca invaluable for skin to skin with language and reader. I think it can be an excellent opportunity to experience this perception of "weakness at the edges and a main artery running through the center order" which is mentioned in Lowell.

end this brief reflection reaching the metaphor of liquidity given by the sociologist Zygmunt Bauman, who has given a good account of the precariousness of human bonds in an individualistic and privatized company, at a time without certainties doomed to the assumption of existential fears and anxieties that the conquest a primary and first freedom entails. I stand in the vast emptiness, pregnant with possibilities, this liquid modernity. From here one can understand the temptation of disengagement but still its mouth inane. From here, the work of those vital and aesthetically assumed that "human frailty" precisely from the affirmation of a major artery represent commitment as well as a pleasure and an ever-fertile shock, the ability to say with the poet: "Here I am the soul to live while I sleep. " No small feat.

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Julieta Valero (Madrid, 1971) has a degree in English Philology at the Complutense University. She is the author of the poems Altar of days unemployed (2003), The seriously injured (2005) and Authorship (2010).

Miguel Hernandez, punishable by death
José Antonio
Expósito

Sometimes the treatment and the different estimates that a State and the people give to their poets clearly illustrate the huge gap between an ethical and a half. A State could silence their true poets, but never manages to mute their voices to those who feel the beauty and truth of his verses. Franco's Spain so merciless and shameful sadly gave the greatest lyricists of the time, Miguel Hernández, García Lorca, Antonio Machado and Juan Ramón Jiménez, jail, death, hunger and exile. However, his poems still survive in the collective memory and sing to the world feeling and depth inspired all a country. When Miguel Hernandez wrote "much grieve to die one!" Could not imagine a day would kill the worse and slower death, successive away in prison and denying family medicine and hospitals. Sentenced to death on January 18, 1940 by the Council of Permanent War # 5, its implementation was suspended until the relevant section was received by the Head of State. However, the clever and persistent intervention of José María de Cossio, who both wanted to Orihuela, got that penalty was commuted to death for thirty years and one day. There have been no people like Pablo Neruda or Josephine Manresa, widow of the poet, have questioned whether Cossío make all efforts were in hand to free Miguel definitely. Although they are similar criticism has also Alberti marriage by not inviting Michael to travel with them to Elda and Neruda and the Embassy of Chile in Madrid about a supposed diplomatic asylum to the poet.

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Cossío during these trying times came to his friend Dr. Aragon Eusebio Oliver Pascual (1885-1968) with whom I shared coffee gathering in the Lion d'Or de Madrid, when the early thirty there was brewing magazine Cruz y Raya, and this was one of its editors and contributors. Oliver remained then and then very good relations with other known poets. At home in the Calle Lagasca, no. 28 Lorca read the night of July 12, 1936 for the last time his manuscript of The House of Bernarda Alba before fatally travel to Granada. Among those present were, among others, Damaso Alonso, Guillén, Salinas, Guillermo de Torre and Miguel Hernandez himself. Bergamín dedicated to Oliver, who witnessed their marriage in 1928 with Rosario Arniches, daughter of the playwright, his play-and-run variation of a shadow. After the war, Oliver retained his friendship with many of the poets of the 27. Pepin Bello organized with a well-known lunch with other writers in the restaurant Lhardy when Guillen returned for the first time in the summer of 1949 at Madrid. This is referred to Oliver as "our doctor." During the war, Oliver served as captain general medical division José Enrique Varela Iglesias, who at war's end he was appointed Minister of War in the first government of Spain during the dictatorship. Cossio undoubtedly used this circumstance to get through to the minister Oliver Varela and Miguel to intercede. For this was also with the help of writers Falangists Rafael Sánchez Mazas, then minister without portfolio, and José María Alfaro, Secretary Press and Propaganda. Together the three went to Varela's house to convince him of error and the huge impact that would result in the execution of Miguel Hernández. But what weighed on the mind of the minister was not poetry, but the fact that the father-Hernández, Manuel Manresa, had been a policeman who had been killed a few militants in August 1936. Varela later met with Franco, who previously aware of the situation and hearing the arguments of his minister seems to have exclaimed: "Another García Lorca, no!" And decided not to sign the death sentence waiting in his office in the procedure No.. Proceedings against Miguel 21,001 Hernández Gilabert.

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On June 24, 1940 Varela wrote to his friend Rafael Sánchez Mazas, Deputy Secretary of Falange, to say that Miguel Hernandez had commuted the death sentence on him heavy. "This act of generosity of the Caudillo," says Varela, should be forced "to gracefully follow a behavior that is correct the past." Three days after receiving the news, on June 27, 1940, Carlos Sentis, secretary of Sánchez Mazas, finally tells José María de Cossio of the commutation of "you recommended." In April 1939, and had starred Sentís another "heroic act" when he went hurriedly from Barcelona to Madrid to participate with two other well-known writers Falangists burglary and theft at the home of Juan Ramón Jiménez Padilla street.

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While all these abuses were happening, Miguel Hernandez wrote in jail awesome poem "Nanas de la cebolla." In exile, Juan Ramón composed his magnificent "Requiem for the living and dead" and Antonio Machado its delicate last verse: "These days the sun blue and childhood." Sad fate that were once the greatest poets of the people at the hands of an uneducated and cruel state.

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José Antonio Expósito (Madrid, 1964) a PhD in English Philology from the Universidad Complutense de Madrid (2003) with a thesis on the poetry of Antonio Gamoneda. He has published four books of Juan Ramón Jiménez unpublished: They ( 2006), love books ( 2007), thoughtful forehead (2009) and less Art (2011). He is the author of the studies History of a book: Third antolojía poetic Juan Ramón Jiménez (2003) and An open rooftop infinity (2009), and iconography of the book JRJ. album, (2009). He received the Award for Poetry "Ángel González" (Oviedo, 1986).