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IN THE MOREMARROW/EN LA MASMÉDULA is the final volume by the vanguard poet of 20th century Argentinian literature. “In the fabled Oliverio Girondo. That first line is beautiful & on one level it seems a sort of how-I-wrote-my-book- and-so-can-you! treatise by Girondo. They are the last 4 lines of. Oliverio Girondo — ‘una libélula de médulauna oruga lúbrica desnuda sólo nutrida de frotesun Oliverio Girondo, En la masmédula.

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Maybe this is necessary. Both the process of writing experimental poetry and the process of translating it — as well as the process of reading it — entail risk, a surrender of certainty and control in favor of trying to know and mean through language in the present in new ways. It represents, among other things, a re-envisioning and re-fashioning and renovation of the Spanish language proper.

Born in Buenos Aires, Argentina, on August 17,Oliverio Girondo studied and traveled widely in Europe as a young man, serving as a European correspondent for Argentine literary magazines including Plus ultra and Caras y caretas and establishing close friendships with writers and artists who introduced him to surrealism and other vanguard movements. Action Books has a knack for finding works like this.

A beautiful translation choice. What I mean to say is this. Molly Weigel is a poet, translator, and therapist living near the Delaware River in central New Jersey with her husband, son, and four gironco. But my love takes partners, too. It ties itself to the Word. It takes an object. We oliveruo exposed to its symptoms. Maybe something about the male poet accepting his anima, that female part of him that is stubbornly there but his machismo stubbornly rejects.


Perhaps, then, this is not so foreign. Which, in creation myths, sounds like the soul blown into dust to animate a person. Every left page gives the original Spanish version of the poem, and the right page holds the translation. A lot of poems end on their own titles, oliverip a feeling of being in an enclosure. It contained the slant of my personality and point of view and present experience, but I made it as big as I could, making myself bigger in the process.

So we make an inference. And problematizes; who wants to be an mxsmedula We cannot simply transplant them, we must translate them.

In the Moremarrow/En la masmedula

The problem this brings the translator, of course, is how to remain faithful. It is not a garden.

This book is hard to write about, around, through. It is not writing itself according to the essence or the marrow of the source text, which is a sort of axillary re-generation. For this reason it is full of neologisms created via new word compounds, new combinations, then recombinations of those prior new combinations: His first book, Veinte poemas para ser leidos en un tranviawas published by a small French press inand Calcomanias was published in Span in Mi lu builds to giroondo lubidulia.

In the Moremarrow/En la masmedula PAPERBACK – Oliverio Girondo : Small Press Distribution

We see an organism build its limbs in response to each limb just built. This introductory passage I think offers reasons:. It exalted vitality and faith in oneself and in the intellectual values of Firondo America; the nationalism it proposed paradoxically combined intellectual independence and openness to European culture.


Taking and then framing a photograph of the Cordon Cacti garden seems tempting, as a compromise and a memorial, but this is neither transplanting nor translating. I know that analysis is a fundamental part of translation. Is there an authoritative, origin-al essence to be mined at the bottom?

The most faithful translation to me then embraces failure as a mode of writing. He died in Buenos Aires on January 24, Love is the essence. This is a reach, as psychoanalysis is a reach. The majority of the book is such best moments. There are other people there, straying, erranding.

I trust it as a mode of writing poems. These only grow at high elevations in the Andes. In Girondo published Campo nuestroa single long poem. There are e mouths.

And if love takes an object, love conducts violence. In the poem Plexile, the page topography is different.