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Mario Benedetti: a poetic event
Nancy Morejon (Teatro Nacional de Cuba) 
Today, any reader English-speaking, coming from the Iberian Peninsula or of Our America, you know the name of Mario Benedetti because it is essentially familiar. And that name is associated not only with the large presence of Latin American literature in the world today, but his writing relationship with its consumers. The most versatile of the continental writers (373) not only has gestated a body as diverse literary genres and styles, the most diverse, but has contributed as little to settle the conflict in the ancient literature of any language or expression existence of a reading public can be recognized in the books of authors who have in store a better look into more intimate affairs. This body of literature was born to the couple that their creator was creating a reading public prepared to understand the key literature that demonstrates his specific face, their originality and their strong desire for artistic independence (374). Among the merits of Benedetti is its concept and practice of what is the office of Latin American writer so far this century. Because, as expressed on numerous occasions, the first public primary audience Mario was chosen as the Uruguayan. The characters of literature are Uruguayan. Benedetti is a man in love with particularity in Montevideo and in this election, this option appears all intellectual ethics, which in turn shape their sense universal writing, writing that part of facts and real situations, not abstractions typical of a certain South American literature as a stimulus whose paths had extreme mimicry, or perhaps a bovarysme, lost two in a scheduled schizophrenia. That splendor that illuminates the relationship of Mario Benedetti with vast audiences not only occurs from the presence of his works in the book market, but this event unusual is its popularity with many audiences of different ages, from varied backgrounds, of various ends, irreducible fans of his poems, his ballads, in short, of their songs. He talked about event. It is and it is an event almost led to an aesthetic category that has been happening with Benedetti's poetry (375). His poetry is read, heard, sings and is pursued by consumers. Being so exceptional editorial this strange phenomenon, spreading to the show and the album, it seems now, however, so naturally we can not fathom that this jump has occurred in Latin American literature, particularly in our poetry.
During the sixties, the poet and essayist Thomas Segovia published in the weekly Marcha a valuable article that addressed the complexity of the literary, the craft of writing poetry in relation to the recipient: the reader. Segovia warned:
Today, despite a few exceptions, indeed out of all proportion to the possibilities of modern media culture (which other branches of literature and art have taken advantage of), a man who will decide resignation to write poetry about to be read. In Latin America, for example, the novel has its audience today, while his poetry is (376).
This was the situation for poetry. Later, Segovia goes on to state that "readers of poetry may be, by their number, a public poetry. But they are not. There is a public football, there is an audience of theater and music, and also, for quite some time, groups of abstract art. But there is an audience for poetry, at least in our countries "(377). Naturally the situation is quite different from that of 1964, when he published his suggestive note Segovia. Admitting that the poet has to have a conflict with the public, Segovia suggested, moreover, that the public were removed, ie not to tell to the poet. However, another concern of Segovia was not only the certainty of the absence of an audience for poetry but the challenge in those days meant accepting that there was an urgent need to make it for those who tilled the office of poets. Benedetti went to the call became an emblem. His merit was to write a poem highly communicative and gestational age of a participatory management which germinates the image of a poet with a differential sign, free of blame in terms of populist concessions is, of a certain mass of fees allegedly collectivist. Sebastián Salazar Bondy believes that Mario gets "the foundation stone of a poem in the language and spirit meet and rebuilt. Latin American Poetry, Latin Language, English rescued from their source of sermo vulgaris, which identifies to the person and the crowd as a new story forms (378). Ambrosio Fornet, the most renowned specialist of Benedetti's work in Cuba, announced that our author "is, to use a word revived by himself, a writer communicating" (379).
You'd think more than a public, Benedetti has achieved communion with his readers to contribute more to shape a taste for poetry, conveyed it to the support (with or without) the accompaniment of music or / and declamation , or simply that good. This is not an age to dry, negotiable and unrealistic, but a fellow ex immersed in a virtual civil community policy, likewise a community of fans of good causes, the act of faith is to believe in utopia as ultimate gesture of love for others and social justice. Bibliophile ad nauseum, it is fair to say that Benedetti's poetry brought the books back to its natural time and space. An admirer, however, the solitude of writing and, therefore, the solitude of reading, has created, and a wisp of her poetic art about the event call it a poet for many, which breaking the taboo of the Romantic poets, whose heritage was valid until the modernists and postmodernists Hispanic: What
I have no shame
inner monsters do not smoke a pipe in front of the horizon
in any case I think my bones
are important to me and my shadow
Saturday night I am filled with courage
shame my nose is not like that of Goethe
I can not regret my melancholy.
("Monster") (380)
A poetics of the event among the common men and women exposed in his theory of the office of poet who shines even their language narrative, from which the poet recreates his taste for space metropolitan Chaplin his breath for a divestiture overwhelmed citadina identity. Poetry recovers, then its original face, its most vital role. Being
Mario Benedetti, as a writer protein in terms of quantity, quality and diversity, it is certain that his foray into almost every genre has been a point of interest to the copious literature passive production has earned. I quoted somewhere Fornet a concern regarding the lack of systematic study the poetry of Mario has generated. Poetry is the genre that Mario is more comfortable. This has been stated on numerous occasions throughout his career (381). It was poetry, as in many other storytellers, thinkers and American essayists, the first Mario genre that opened the editorial life. On two occasions heard from Julio Cortázar, between sips of steaming coffee in Havana, all respectable narrator had to pay tribute and mother had come from the genre: poetry. This indisputable fact the fine reader of poetry and the poet was himself Sunday as Cortazar, is a must in the references on Benedetti. So much so, that would have to sit down and calculate the time when the practice of poetry was moving to invade large domains of the novel, short stories and essays by the author of The State of the tail of straw. How, then, explain its creative processes? How to cope with the outlines stylistic skein without studying, without stopping at the fountain that was his first poems? In a cosmopolitan author, inconsolable bard of the urban landscape, the supreme creator of a literary discourse mestizo, it is inconceivable that in his early lyrical poems. Nobody would be astonished if I say that this faith in the poetic act created the core of all Benedetti's narrative of many articles and most of his essays, reviews and articles.
The spirit of the contexts that define and characterize the tales, stories and novels of Mario Benedetti, themselves dominated by a poetic aura and atmosphere fantasy-were announced in some lines from one of his early poems (Only meanwhile, 1948-1950) published in Montevideo in 1950. Let's see:
If I could choose my landscape
of memorable things, my fall
desolate landscape,
choose, steal this street
it before me and everyone.
(...) will always be here, here, enemies, treacherous spies
loneliness,
woman's legs that drag
my eyes away from the equation of two unknowns.
Here are birds, rain, no death,
leaves, horns and desolate names,
clouds that grow in my window
while moisture brings cries and flies. (...)
Ah if I could choose my landscape
choose, steal this street, this street just
evening in which fiercely
and relive that nostalgia strictly
know the number and the name of his seventy trees .
("Choose my landscape) (382)
The scenario townsman, the center of the landscape that chooses the poet's voice, along with a sense of roots, by contrast, provide not only a premonition of what will be traveling Mario biography but what will be the multitude of exiles, of course, a recurrent theme throughout his work. The trajectory of our author patenting stylistic vocation through overcoming the same work, even most of his major themes arming, thus, a scaffolding of resources as extensive as those in the square box of a magician. Benedetti free verse travels the ice-berg as well as the stream of consciousness as forms of expression of a coherent set of values.
Our author, who is an accomplished thinker, designed in his poems that the world must move the reader into a consciousness of action framed in principle on civilian life in the struggle for civil rights-volatilized by South American dictatorships of the seventies. There's a shuttering communicating vessels that poetry generates. Then there will be a return transmuted from prose to poetry. It is time that the script reaches Mario Benedetti better definition through two books: Other Poems (1973-1974), and The Birthday of Juan Angel (1975). I think both meet the expectations of Mario in so far as to draw a no man's land guarded by narrative elements found in the truce and thanks for the fire, as well as Montevideanos. They also broke so I tried to name as a poetic event. This is not to start a comparative study of stylistics placing Benedetti paroxysms that are critical of poiesis to his narrative style. No. But it would be impossible to talk about his poetry regardless of how transgressive and experimental film has been making his literary vocation based on a concept of the world and a conception of the role of literature and writing as a social fact. So Martin Santomé (383), Laura Avellaneda (The Truce) and Ramon Budiño (Thanks for the fire) became integrated with the most lyrical poetic voice of its inventor, you
martin
symptoms do not know what it says how nice
(...)
Avellaneda
you
martin martin how was
names fall I'm falling
myself you
anyway
does not know what one imagines will be my death
without their
vi da
("Last notion of Laura) (384)
Look here, now, the concept of poetry that wields Benedetti since only the meantime (1945) to the wilds of Babel (1991). The relentless pursuit of a poetic art marks the work of Mario, intercepted by a desire for style, as we saw, do not forget the social function of poetry. On the other hand, has opened a magical place encircled by themes and stylistic devices. This space has been built and remains so through concentric circles that move as if the author threw a stone into still water of a pond and so moved stimulated by various core areas, namely: 1) patriotism (Paso de los Toros, Montevideo, the various backdrops that make up the wandering poetic and personal leads to 2) the question of exile as the homeland and its corresponding identity 3) the choice of a landscape is necessary for the expression of this desire for style and named, 4) daily as a category of time and as a fait accompli in modern times 5) the city and the alienation that the modern world has imposed on human beings whose lives take place in large cities (385).
issues This issue is quite easy and rather complicated. Benedetti's work comes and goes that become recurring themes in so far as can be found by the reader, with different treatment, throughout his poetry. With the enthusiasm of a young Cuban reader (numbering thousands), I thought all the poetry found in this author's significant issues, and tracking that I announced earlier, I tried to verify a perception around.
First of all is one of the handiest borders because, obviously, their expressiveness. The country is perceived as more closely related to identity, more specific or more general. The history of the country in Benedetti's poetry creates an arc ranging from family and home to the concept of "Homeland is humanity" to take on Jose Marti, from, of course, because of the importance of home town (Paso de los Toros) and Montevideo decisive experience. In this regard, I confess how I see Rashomon technique (a box within another to infinity) in the treatment of this subject.
The first notion of homeland appears in the poem "This is my home", the slim volume while only (1948-1950). The poet's house is described in its physical dimension referring the reader to their true dimension is the existential. This poem of youth turns out to be a definite premonition: "No doubt. This is my home / this happens, I cheated here immensely. / This is my house frozen in time "(386). The house this time envisioned by the besieged and troubled country in the seventies crisis of values \u200b\u200bwhich will release the poet into exile, not only because of his loneliness, and his anguish at the time, but its action as a fighter for social demands and policies. In fact, the poem "The concept of homeland", the title to an entire book, is a confrontation of the country by default. The poet, recounting all over the world visited, recognizes his corner, his personal website even aware of the crisis at that time was coming. So, choose to recognize that this first notion of parental choice and have a sign on where the prevailing factor in the community:
and when I look to the sky
my clouds here and there my Southern Cross
around me are the eyes of
all and I'm not outside
now I know I do not feel left out.
Perhaps my only notion of homeland
is this urgency that we
perhaps my only notion of homeland
is this return to their bewilderment
("The concept of home) (387)
Benedetti Homeland of young stands against the evils and stereotypes that had plagued Uruguay in the forties, was to say, a unique Swiss homeland, without clocks (388).
Poems 'notion of homeland "and" Another notion of parental' frame of two distinct notions different historical moments. The first shows awareness of a country beyond the cliché assumed as a shared belonging, a sense of identity as entrenched in the social. The second claim springs from exile, the mass expulsion of 'home' of their extended family, that is, from their homeland. The vicissitudes of a wandering inconsolable become fixed in this poem that includes a sort of lament of the Diaspora of the Southern Cone. Everybody out, 'the little country beyond "; all aware of historical reasons against predators, "people of ill will" oppressors, torturers (389), and the poet is right to conclude that, in all, only "one in a thousand is resigned to being another" (390).
The arc set (house, family, country) reaches yet another theme of this area and is the poetry that the author wanted to name in his book The house and the brick. Pieces of his house, that is, from their homeland, were swept away almost the entire globe. The country is a momentous event that signs much of this literary output. The poem "Here away" (The wilds of Babel, 1991) addressed again the issue of homeland revisited this time without this the joy of returning to fog, but the joy of the return annihilate the critical and poignant longing for other places where the poet had built her another house, the portion of the game back in their home Children:
But my house
rays hit and one day will be halved.
And I do not know where to take shelter
because all doors lead outside world.
("This is my home) (391)
The theme of exile, as you noted, is tangential to the homeland issue. Two sides of same coin: obverse, reverse. And although its presence runs throughout the work of Benedetti, one way or another, prefer to dwell on the two books I think it best. They are: The brick house (1976-1977) and Wind from exile (1980-1981). The central approach of both books is fed by this issue. I would insist on the reversibility of these two issues. In the poem "The house and the brick 'exile Benedetti appointed as" interim homeland, "" substitute homeland "," companion ", ie exile encompasses a shared homeland, and therefore extended. The provision of the original book, the reader will find that the successor of this poem is none other than "Another notion of homeland." That is, front and back. This country extended in exile, and supports the mentioned idea of \u200b\u200ba diaspora of the Southern Cone, including the Uruguayan:
is clear we have expanded
appearance as the four cardinal
invade Venezuela has thirty thousand
including forty players in sidney
Oceania is a Eastern authors library
surprise that Australians are not Confucius or
lin yu tang
but Espinola
Onetti Arregui vilariño barcelona montevideo
petit café and a brothel called the
localcito name that says something to the River Plate
but very little to the Catalans
in Buenos Aires seven hundred thousand or more
not fit well in Mexico and new york porto alegre Havana Panama
remove Algiers stockholm lisboa paris amsterdam madrid lima maracaibo Rome
xalapa pau
caracas bogota san francisco montreal moscow london merida Gothenburg
envelopes arrive from all over the nostalgia
recounting how we have to start from scratch
browse languages \u200b\u200bthat are hardly built somewhere
tributaries anywhere
("Another notion of home) (392)
Benedetti approaches the theme of exile as experiential fact. That is why there are two levels of experience: a) the assumption, acceptance and analysis of exile through the diaspora, that is, the poet's experience as part of an identity, one community, two) the internalization of this experience, expressed in turn with a heartbreaking lyricism capacity: all my homes
leave me and the booty won with these defections is a long monologue
in rags monumental Peregrine troubled
contrite and end excessive for my humble endurance
(...) but I've had about eighteen mirror
beds in the last three years of this great sprawl
as all past and future
shadows I am a witness and mirasol nomadic
in three weeks maybe I'll go and sleep in my empty bed
number nineteen
to view will not be
will not be to see ("The Mirror of shadows") (393)
'll see mirrors, facing each other, to surround the event of poetry, subverting forms, genres. Exile is a prose poem. The alienation of human beings in our time, moving from the poem to fiction and vice versa.
One of the explicit ambition of the writer Mario Benedetti has been to blow up, successfully, the boundaries between genres. The issue of gender, to Latin American literature of this century, it is essential topic and is in the axis of two indisputable categories such as tradition and rupture. No explains the character of our literary expression if not stated desire to study the literary creator to break those barriers are not just looking for an expression (pleasing Henríquez Ureña) according to the times, but trying to make visible the image of a artistic originality that should happen, however, by the assimilation of the history of literary genres (394). Not a few critics have stressed that transgressive Benedetti status as the sign of a behavior and a consequent desire that created the most functional pyrotechnics contemporary Latin American literature. This willingness to trespass, which is also an accurate will Benedetti style occurs from the very beginning of his career. If we consider the fact that in more than one occasion, Benedetti-flattered even as the most versatile of the current continental-narrators said that gender you feel more comfortable, or perhaps more legitimately feel creative, is poetry . Who could doubt it? So testifies as a key book Poems from the office (395). The first edition sold out in two weeks, something that in Montevideo in the fifties represented an impact simply outrageous (396). Mario itself has also been seen in more than one occasion, the equivalence between the office and Poems Montevideanos, his second book of short stories. In my view, these two books are the generating centers, the sum of the poetic craft of the author of Against the drawbridges. You will find both the general reader as the most demanding critic, foundations and the substance of this huge body of literature. Would, therefore, to your heart and lungs. Benedetti has not only insisted on this aspect but has stated that the evidence presented between poem and story was not ever a chance. In an interview with Cuban journalist Ciro Bianchi Ross, Mario claimed: "I think it was a conscious purpose, born mainly from an almost obsessive preoccupation with a false image of my country and us they sold us some politicians, journalists and historians "(397).
Firstly, Benedetti has a priority: to destroy a false image of Uruguay and to carry it out, chose the poem as a vehicle first, carrying a light which is then transferred, still more expressive consciousness, the spaces of city dwellers Montevideanos the foundational stories. This axis, born everything else and not just born but that would be repeated, as an experiment in the coming years. The event is Montevideo foreboding, gray bureaucracy which would weave the web that serve as intermediary for the installation of a fascist power. Genres, forms, must be conditioned to the priorities of the writer. Then come back to find the splendor of this practice in a notebook exceptionally innovative, beautiful, tears in your intuition to make a more ethical for the South American whose story was integrated into a monstrosity planned by hallucination and violence never before witnessed. Poems I speak of others, a most wonderful book opens another stage of their writing.
resources invade this new discourse narrative thread which is a fabulously poetic transmuted and also borrowing the famous "le Je est un autre" Arthur Rimbaud. Thus, the cleavage poetic voice that is shared with me three characters of the first period of his fiction, namely Santomé Martin, Laura Avellaneda (The Truce) and Ramon Budiño (Thanks for the fire). Accepting the invasion of narrative and the characters, it is clear that the experiment has been true then, suitably encouraged by the similar incident of Fernando Pessoa, and in our language, the consequent of Antonio Machado (398) and Juan Gelman- Benedetti has made an unusual exercise of it has managed to invent poetic subjectivity, objectify subjectivity might almost say, from which someone is expressed poetically. Here there
consideration of the poem as a linguistic object independently and as experimental material. On the other hand, is recovering poeticized autobiography as an object, put another way: the willingness to contextualize his own personal experience as part of a cultural history, creating his own life a myth, and his person, a character . Poems by other persons biography fable also assumed to poetic art. Office poems, by contrast, had opened and the appeal of autobiography as literary substrate.
The formal achievements of the poetry of Mario Benedetti Poems are articulated in others. Of the well water flows biblical illuminator that will possible formal flood even more comprehensive as it has been the birthday of John Angel, a novel written in verse. The deep conflict Uruguay is the event that lets the reader into a world highly fabled, fictionalized and expressed with a bold lyricism that would not give the author of Only in the meantime. An event poetic fable that has nurtured a time as heir to the supreme protagonist aware of time, for example, Virginia Woolf's Orlando lend itself to the best construction of a character in English fiction of this century. In Poems of others has reached its most refined experimental area benedettiana poetic.
Correspondences Poems I set out from the office, Montevideanos, Poems by others and the truce, reach their definition better in two books that share the title of Geographies (1982-1984). Intended a portion of the title of a book of poems and the other portion to a succession of stories, two books stand out for technical achievement and recurrence of the event more Benedetti poetic discourse in its second phase: the exile. If you already Poems by Mario Benedetti carves the howl that enshrines the concept of homeland with nostalgia:
Green Country and wounded
comarquita really poor country
country (...) I have you no life
and death
how I need
("Man looks at his country ...»)( 399)
in Geographies this concentric circle back to the initial themes of landscape and home, thus launching the poet the question of gaps, ie, doubt that forms the essence of this job: That
say that after ten years everything has changed
say there
that avenue is not
trees and not for me to doubt
could I possibly I
treeless and without memory of those trees which they say
are no longer?
("So they say") (400)
The stereotype of Uruguay that the first stage of the poetry of Mario Benedetti undo tried to build in its place, a huge notion of homeland, which is humanity, brings me back to one of the most casual delusions of Latin American poetry. It is this opacity of its poetic roots, perhaps diluted the founding myth that other poetry, alarmingly, that of Jules diasporic Supervielle-inaugurated in the first half of the twentieth century. As the Guadalupe de Saint-John Perse contexts provides one of the most characteristic of his poetry, the same way, a myth of Uruguay (and its mass of sea which is a river, the Rio de la Plata) bursts in the poetry of Supervielle. The poetry of Mario Benedetti-objective event-objectifying not rule in his address certain key depths ranging, for example, with respect to the metric forms of English poetry and its corresponding American acculturation to the proposed recreation Altazor literary poet, who Benedetti cites not only timely in his poem "The Mirror of shadows", a true piece of expression, but studies and test reports in a startling when you consider the aesthetics of the author of The loneliness of Babel (401). Without resentment, without earrings, Mario Benedetti has struggled with us for a claim, social, civil and civilizing function of poetry and the poet, while has contributed unceasingly to the creation of vast audiences, prepared to enjoy and participate in the achievement of an America more multiple, unique and ours.
course I would like to delve to some extent in the relations of the poetic works of Benedetti with the history of American poetry which has devoted so many pages. "A curious feature of Latin American poetry in this century is ending its diversity, miscegenation. An alloy that is detected in the poetics of each particular country (...) However, the fusion aesthetic may appear in the path of a poet himself, "said Mari early ninety (402). This conclusion may well be valid and applied-in fact we have been feeling throughout this paper-the very work of Benedetti. A poem is emblematic as "Man looks at his country from exile" contains in itself such a maxim. Language processing it reveals an adaptation of the word affiliate to their intrinsic sonority; subject, while, in a paroxysm of expression which not only conforms to deliver its literal meaning, but the poet returns almost morpheme nature then submit it to finish the experiment and that the family only from César Vallejo's poetry has been giving us. Babble heartbreaking then, puts the reader against a backdrop provided as a result of exile. In Poems from other areas appreciate that approach, using a new treatment of metaphor, complementing formally. While driving colloquial poetic discourse of this book-program, the poet offers in return, a culture of popular metric forms, from the treasury of the oral tradition Gaucho (403), turn inherited the Castilian romances. It is a litmus test in his brilliant realization Benedetti placed himself between two stools: the cultured daughter of basic experiment of our poetry, treasured in this book and foundational key is Trilce Cesar Vallejo (1922); and popular daughter, in turn, the legacy of Martin Fierro, the Simple Verses by Jose Marti, as well as certain stages of the work of Nicolás Guillén, especially those that transpired in books like are integer (1947 ) and the popular flight Dove (1958). Rhythm and musicality embrace classic texts and Latin American songs like irreplaceable "I love you", poem in song, back to oral sources throughout Latin America:
if you want
is because you are my love, my accomplice and all
and the
closely street are much more than two ...
("I love you) (404)
Benedetti in the hands of this song has gone and returned, reborn in the eyes of those who love the stunned poetic fact that bet only one of the most sensitive areas of Latin American poetry, that is installed in a speech where words rather rave carried a hand Huidobro (the Altazor, 1931) (405), or a Girondo Oliver (the Twenty Poems to be read on the tram, 1922). As Roque Dalton, Benedetti has not only recognized the existence of two families poetic within the current Latin American poetry, as Pablo Neruda and Cesar Vallejo, but has the conviction to belong to the latter. Between these two beautiful waters, Benedetti mature expression incorporating to the more refined aesthetic stylistic devices that were born of colloquialism (406). This rotation carries Creole, Montevideo, South America, the map of her poetic art. However, their perception of the landscape, the landscape that has been weaving his speech, both the colloquialism does not come as a row since mid-century, but two models poets, perhaps far apart, but domiciled in the choice of Mario himself . This is Baldomero Fernandez Moreno and Antonio Machado. Who's Talking Now is Benedetti:
What was the essential originality of Baldomero Fernández Moreno? What new element introduced in Argentina poetry? Borges gives a first hint when he attributed "great perception of the outside world" and, from the initials of the missal (book inaugural Baldomero) considers that in this work Fernández Moreno "had executed an act which is always amazing, and in 1915 was unusual, an act that we rigorously qualify etymological revolutionary. I'll say without further ado: Fernández Moreno had looked around "(407).
And later:
Although today it may seem paradoxical, it is likely that the contemporary Argentine Baldomero Fernández Moreno who had more in common in their attitude to the urban landscape is the Borges who is decanted in Fervor de Buenos Aires (1923), Luna de enfrente (1925) and Cuaderno San Martín (1929). But still, in the nomenclature Borges citizen access to his poetry as something that is sensed will be missed, in anticipation of a nostalgia that will come, while Baldomero is assumed with a sense of ownership, and sometimes as an excuse to hang nostalgia , reviews of what he was (408). Absorbed
also in a streetscape design that is anchored in the tradition of South American poetry (resting on the pillars erected for that Argentina and Uruguay), the poetry of Mario Benedetti incorporated in this mode a colloquialism rather heir colloquial current among us founded the famous "Letter to Madame de Leopoldo Lugones' (1907), Benedetti poem itself describes as" so unmistakably current can be read as if written last week "(409). The urban landscape of Montevideo and almost every city where Benedetti has been surrounded by similar backdrops also made a poetic event virtually split between two factors: the language and behavior. The rise of the avant accounted for a revelation of secret areas of poetic language to attack the stereotype that the canons of modernist poetry (heir to the legacy turn romantic) had carved swans creating paraphernalia, japonerías and pearls. Office Poems are inserted at the break that made the splendor of a concept of poetry eminently antipoetic, original, derivative if you want a lapidary phrase of Charles Baudelaire: "epater le bourgeois." Poetic discourse that comes forward that there Nicanor Parra was able to synthesize through its Antipoems which were not anything but a legitimate reaction to the family legacy Neruda. Mario Benedetti almost proposes a manifesto, a different attitude and claim the place of importance it should have, since then, at our poetry that partner omnipresent, is the River Plate, the Caribbean or the Amazon. The poems "Monsters" (Poems of the office) and "To the left of the oak" (The concept of homeland) exemplify, each in its own way, what I mean.
The place of the poetry of Mario Benedetti in the context of Latin American poetry is based on a process of assimilation of those avant-garde or traditional forms, especially poetic identity as outlined majority had been achieved since the late nineteenth century when the hosts modernists who captained José Martí and Rubén Darío showed our new being, unique, unambiguous, perpetuated in their specificity across the sea, in which centrifugal mixtures without But singing to an identity forged through numerous migrations, as the crow flies, hover over the spirit of our America, shared a great country from the Rio Grande to Patagonia. Benedetti's poetry breathes history and, therefore, migration, exile, with firm foot in a historical experience that makes us grow day by day and get into the Amazon jungle on a boat that sails and clear of any fashion until atavism, of all bad faith, without any feedback as possible claustrophobia. The XXI century awaits us is already there, and there again to take out the guitars, the loopholes with new tools of all kinds, in the middle the great forest, he wanted to Che Guevara, in the midst of the rich region, and never missed, where the event will host a poetry, a new poetics of human relationships.
...
Benedetti's poetry have to admit it as a wonderful adventure. But the most terrible of all this adventure, when we return to visit their properties, is the irreversible fact of having fallen into account the special attraction I have always felt to them. There is a deafening magnet attached to its shocks me, its artifice, its games, its risks and gambling. That magnet refracted and I caught me as a reader or someone who is trying to write poetry. I could not avoid this phenomenon, and through my work, I was torn between putting the critical eye that should prevail before you and almost uncontrollable desire to run for a blank page to immediately emulate their verses, their challenges, their transparency. There are poems Benedetti causing writing of others. There is no turning back. Wonder what their sources of drinking in South and endless warm meeting. Such encouragement on the miracle of creation is behind some of my titles, and in these the reader may find "the face behind the page" (Mario's face behind my pages) to propose Orwell. So now I want to bring here, to conclude, Mario verses were one of his first poetic arts. In them, as elsewhere in his poetry, beats the spirit that has allowed us to congregate these days Alicante:
That hit and hit until
can be no longer deaf
to hit and hit until the poet
know or at least creates
is it they call.
("Poetic Art") (410)
Mario Benedetti: inventory accomplice Carmen Alemany
edition, Remedios Mataix and José Carlos Rovira
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