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By Pere Gimferrer

Bajo el título de Amor en vilo Pere Gimferrer ha reunido 142 textos que constituyen su primer libro de libro de poesía unique en castellano desde 1969. Fechados entre abril de 2004 y diciembre de 2005, estos poemas aparecen (salvo el que cierra el volumen) en estricto orden cronológico, y relatan una singular historia de amor cuyos antecedentes e inicios son también materia del coetáneo libro en prosa Interludio azul. El retorno al castellano, atribuible a los angeles índole misma de los angeles historia, se traduce en una evidente variedad métrica. Resonancias que ya aparecieron en l. a. anterior obra del autor (desde Góngora hasta Rubén Darío e incluso Garcilaso, a menudo en los angeles lectura que de ellos hizo l. a. generación del 27) coexisten con un mosaico de alusiones a literaturas en otras lenguas, al mundo del cine o a los angeles pintura, para relatar una historia contemporánea en una diversidad de tonos y acentos que no se adscribe a tendencia alguna. Se cumplen aquí proféticamente las palabras que Octavio Paz escribió a Gimferrer en 1968: “Dentro de 10 años será usted un hombre joven y dentro de forty un viejo, pero siempre será, estoy seguro, un poeta joven. Con esto no quiero decir un poeta imperfecto sino un poeta dueño de esa perfección que sólo lo joven tiene”.

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It is ‘The Kraken’ which illuminates the project most, but it can best be reached through ‘Mariana’ and the account of feminine sexuality being explored by Hallam. Many of Arthur Hallam’s poems are in praise of women, as are the poems which begin the sequence of Poems (1830)–‘Claribel’, ‘Lilian’, ‘Isabel’ and later ‘Mariana’ and ‘Adeline’. Hallam’s praise is adventurous and belongs to a new attempt to redefine the importance of women in a culture. He celebrates women because they are nearer to the life of the affections and the senses, because, less amenable to the power of reflection than men, they can play.

But fictions, though perhaps capable of a more radical critique than myth, are historically specific and possibly more vulnerable, requiring an immediate grasp of detail and reference not intrinsic to myth. Add to this the capacity of fictions to create an infinite regression of hermeneutic activity in which a sophisticated consciousness grasps poetic materials as constructions along with its own response to them, and it is possible to see why fictions lack the reproducible solidity and substance of myth.

Thomas Keightley’s The Fairy Mythology (1828) seems to have been a cult book among the Apostles and no work more demonstrates the irreconcilable elements of their theory. Keightley writes that myth is unifying, the expression of folk imagination imaginatively grasped by other classes. It works through intuition and sense as another form of knowledge prior to the division between subject and object. It is used by the powerful as the repressive weapon of the dominant class and thus frequently changes its meaning and its application.

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