Pablo Neruda – XVII

I do not love you as if you were salt-rose, or topaz,

or the arrow of carnations the fire shoots off.

I love you as certain dark things are to be loved,

in secret, between the shadow and the soul.

I love you as the plant that never blooms

but carries in itself the light of hidden flowers;

thanks to your love a certain solid fragrance,

risen from the earth, lives darkly in my body.

I love you without knowing how, or when, or from where.

I love you straightforwardly, without complexities or pride;

so I love you because I know no other way

that this: where I does not exist, nor you,

so close that your hand on my chest is my hand,

so close that your eyes close as I fall asleep.

FONTE: Word Ferret: Writing Prompts, Book Reviews, and Short Stories

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Pablo Neruda, in "Abeja Blanca"

FONTE: http://video.google.com/videoplay?docid=4068682691982581526#docid=-4496176854347230547

Nua - Pablo Neruda

Nua

Pablo Neruda

Mulher em teu doce beijo
Há tanto enlevo,
Tantos devaneios.
Este jeito amoroso
E sincero
De tocar o meu rosto
E despentear o meu cabelo,
Deixa-me entregue
Aos teus encantos
E não há dor ou tristeza
A privar-me deste instante.


Amada, por ti
Enfrento qualquer conflito,
Sou teu herói e o bandido
Que te rouba os carinhos.

Se o desejares posso assumir
O papel de
Tchê Guevara...
Nelson Mandela...
Ou quem sabe até
Pablo Neruda....

És a rainha, dona absoluta
Deste coração que pulsa
Em êxtase ao ver-te
NUA!

FONTE: de *.~.*Nu@_Poesi@*.~.*
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Pablo Neruda and Octavio Paz: Clash of Literary Titans (Last Part).

Pablo Neruda according to David Levine.

Photo: Courtesy by David Levine. The New Yoik Review of Books

Jaime Perales Contreras

• Latin Cinema Examiner 

In September 1993, on the twentieth anniversary of Neruda's death, Paz again remembered Neruda with admiration in the pages of the magazine Vuelta. He wrote about the poem "Discurso de las liras," which the author of Canto General had published originally in Paz's Taller. For the Mexican poet, "there is a sustained feeling to the form--stanzas of four verses each--tied to that somnambulant vision of the world that gave his poetry, during those years, a gravity that distinguishes all he wrote at that time."

The relationship between Paz and Neruda was difficult; Paz himself said in his essay for Laurel that the friendship was "as overwhelming as a mountain." This is how Paz put it: "Pablo was very jealous of his friends. He put on the airs of a big fish, an enormous fish from the depths, with an odd sense of humor that, many years later, would be reflected in a book that is one of my favorites of his: Extravagario. He showed that sense of humor in his conversations." The partisan tendency of literary criticism also separated the two writers.

Could there also have been, beyond the political differences, some professional jealousy between the poets? Perhaps. Paz never stopped talking or writing about him, particularly about what he considered Neruda's lack of political prudence with regard to his pro-Soviet commitment.

Despite the distance between the two poets, both politically and in terms of the profound literary beliefs they both held sacred, in his essay "Homenaje" Paz affirmed that the break with Neruda had hurt him and added that he would like to think that it hurt Neruda too. Paz ended the short piece with the following lines: "I utter Pablo Neruda's name and tell myself: you admired him, you cared for him, and you fought him. He was your dearest enemy."

FONTE: http://www.examiner.com/

http://www.examiner.com/latin-cinema-in-national/pablo-neruda-and-octavio-paz-clash-of-literary-titans-last-part

Pablo Neruda and Octavio Paz: Clash of Literary Titans (Second Part).

Neruda was accused of being an accomplice, In the first, failed attempt to assassinate Leon Trotsky.

Photo: Art and Culture You Might Like.

Jaime Perales Contreras

• Latin Cinema Examiner

After the incident, Neruda did not keep quiet. When he was about to return to his home country, in August 1943, he gave an interview to the magazine Hoy in which he said that the best thing Mexico had was its agronomists and that Mexican poetry lacked a civic ethic. He also said that the Mexican novel was represented by great writers (Juan de la Cabada, Emilio Abreu Gomez, Jose Revueltas, and Andres Henestrosa) who had expressed a new form of classicism--and that by contrast, the essay in Mexico had been perverted by an anemic generation.

That same month, Paz responded with a farewell to Neruda in a piece called "Despedida a un consul," published in the magazine Letras de Mexico. The Mexican writer said that what separated them was not political conviction but vanity, the vanity that caused Neruda to accept, every six months, banquets and tributes from the same people he accused of moral shortcomings.

According to Paz translator Jason Wilson, Paz thought pamphleteering poetry was useless. Poetry, he believed, was incapable of producing political change; a text of Lenin's was better than a bad poem by Russian poet Vladimir Mayakovski or Neruda. Of course, Paz wrote political poetry in certain very specific situations, such as in response to the October 2, 1968, killings on Mexico City's Plaza de Tlatelolco.

Paz and Neruda didn't speak to each other for 25 years. Some writers tried to intercede to bring about reconciliation; according to Carlos Fuentes, Neruda called him to set up a meeting. However, the Chilean poet showed such little enthusiasm to make it happen that Fuentes preferred not to run the risk.

In 1963, it was widely rumored that Neruda was going to win the Nobel Prize in literature. That year Artur Lundkvist, a member of the SwedishAcademy, writer, and translator of Neruda into Swedish, published an article in a Stockholm literary magazine in which he sang Neruda's praises. Lundkvist (who is said to have been one of the key people responsible for Paz's being awarded the coveted prize years later, in 1990) strongly pressured the Swedish Academy to give the prize to Neruda at that time. However, there was a concerted effort to make sure he didn't get it. In fact, it was hard to please anybody. On the one hand, Neruda had been strongly attacked by Cuban intellectuals, supporters of Fidel Castro, for being an imperialist; groups in the United States, on the other hand, attacked him for being a communist.

The main source of the anti-Neruda attacks was the Congress for Cultural Freedom, an anti-communist group that was active in 35 countries, including many in Latin America. A vigorous campaign was undertaken to discredit Neruda, with the Congress for Cultural Freedom claiming that Neruda the poet could not be separated from Neruda the political propagandist. Around that time, certain individuals were sent a report written in English and French in which Neruda was accused of being an accomplice, along with the painter David Alfaro Siqueiros, In the first, failed attempt to assassinate Leon Trotsky in Mexico. Neruda had previously denied the accusation published in that report.

 (To be continued).

FONTE: http://www.examiner.com/  

http://www.examiner.com/latin-cinema-in-national/pablo-neruda-and-octavio-paz-clash-of-literary-titans-second-part

Pablo Neruda and Octavio Paz: Clash of Literary Titans (First Part)

The poet Octavio Paz in Yucatan, Mexico

Photo: Manuel Alvarez Bravo Foundation

Jaime Perales Contreras

• Latin Cinema Examiner

"It can take me months to write a poem! I correct it endlessly," Octavio Paz once confessed to Argentine photographer Sara Facio, when she was taking his portrait for a book about writers. That was in 1970, and he was marveling to Facio about the Chilean poet Pablo Neruda, during a conversation at CambridgeUniversity in England. Paz found it incredible that Neruda had written a poem dedicated to the Chilean singer-songwriter Violeta Parra during the short trip from Isla Negra to Valparaiso. And Neruda's work would go straight to the printer without major corrections.

Pablo Neruda was ten years older than Octavio Paz and one of his intellectual mentors. Neruda had invited the Mexican poet and essayist to participate in the Second International Congress of Anti-Fascist Writers in Madrid in 1937; the first such event was in Paris in 1935. Neruda saw a great future for Paz, as he indicated in the only paragraph about him in his Memoirs (Confieso que he vivido): "Along with the Norwegians, the Italians, the Argentines, the poet Octavio Paz arrived from Mexico, after a thousand adventures and misadventures. I was proud of having brought him. He had published just one book [Raiz del hombre], which I had received two months before and which seemed to contain genuine promise. No one knew him yet."

Paz and Neruda, who had met in Paris in the 1930s, nearly came to blows in 1942, when Neruda was a consul in Mexico. The story of that encounter appeared 40 years after the fact, in an essay on modern poetry ("Laurel en la poesía moderna") that Paz wrote for Vuelta magazine in 1982. What set off the cultural sparring between Neruda and Paz was Laurel, an anthology of modern Spanish-language poetry published in 1940 by the Mexican publisher Seneca. The Spanish writer Jose Bergamin, who was an editor at Seneca, had assigned the task of compiling the anthology to two Mexican poets, Xavier Villaurrutia and Octavio Paz, and two Spanish poets, Emilio Prados and Juan .Gil Albert. Neruda was invited to contribute but refused, due to differences between him and Bergamin. Paz never knew what was behind Neruda's refusal, although it is believed the problem had to do primarily with Bergamin's exclusion of the Spanish poet Miguel Hernández from the anthology. In fact, there's a coded allusion to the Laurel anthology in Neruda's Canto General, in the poem "To Miguel Hernindez, Murdered in the Prisons of Spain." Neruda writes:

  
 Let the wretches who today

      Includes your name

   in their books--the Damasos,

      the Gerardos, the sons

   of bitches, silent accomplices of

      the executioner-know

   that your martyrdom

      won't be expunged, that your

      death

   will fall on their entire moon of

      cowards.

   And to those who denied you in

      their rotten laurel....

According to Neruda biographer Adam Feinstein, literary critic Enrico Santi said that Paz began to distance himself from Neruda because he was furious that the Chilean had refused to participate in that anthology; the Spanish poet Leon Felipe had also declined to participate. Laurel was see as Paz's "personal baby." Mexico City literary circles began to divide into Nerudistas and anti Nerudistas (that is, pro-Paz writers).

Paz's version of the rupture with Neruda differs from Santi's interpretation. In November 1939, Neruda was happy to contribute to Paz's magazine Taller, and he offered him his unpublished poem "Discurso de las liras." In 1940, Neruda also gave him another text: a short introduction to the then-unknown Uruguayan poet Sara de Ibanez, in which he also criticized the Spanish poet Juan Ramen Jimenez, who had been a contributor to the magazine. The editorial board of Taller rejected the text, but Paz published the piece anyway. However, due to an "unforgivable error," Neruda's text was not mentioned on the cover. The same issue included some poems by Rafael Alberti dedicated to Neruda's enemy Bergamin. Neruda called Paz and told him, "Alberti is my brother, and those sonnets were dedicated to Bergamin before Alberti found out what had happened. You have been an accomplice in a plot against me."

Neruda and Paz then went a long time without seeing each other. Paz admitted that he didn't like certain of Neruda's personality traits: his heated jealousies, his reproaches, his aesthetic arguments (which were in fact political), his Stalinist "sickness." And according to Paz, Neruda considered anything that wasn't in line with his political convictions to be reactionary. That led to the final blowup, which took place in 1942, in the Centro Asturiano in Mexico City. It was a dinner in Neruda's honor. Among those in attendance were the writers Jose Luis Martinez and Enrique Gonzalez Martinez and the painter Jose Clemente Orozco. Neruda drank too much at the dinner. At the end of the evening, the writers and artists lined up to bid farewell to the Chilean poet. When it was Paz's turn, Neruda complimented him on his shirt, calling it "whiter than your conscience." He then insulted Paz's mother and grabbed the Mexican writer's shirt collar so hard that he tore part of it; then he started in on the authors of the "damned anthology." They almost came to blows. Poet Enrique Gonzalez Martinez took Paz by the arm and they left the Centro Asturiano with the writers Ali Chumacero, Jose Luis Martinez, and Jose Iturriga. Martinez invited everybody to a nightclub in vogue at the time and they ordered champagne that, according to Paz,  was !carsima!--very expensive

(To be continued).

FONTE: http://www.examiner.com/ 

http://www.examiner.com/latin-cinema-in-national/pablo-neruda-and-octavio-paz-clash-of-literary-titans-first-part-1

Poeta amazonense será homenageado no 10º Festival de Bonito

Poeta amazonense será homenageado no 10º Festival de Bonito

Pelas lições de biologia, o Pantanal e a Floresta Amazônica configuram os principais ecossistemas do Brasil, reconhecidos internacionalmente como patrimônios naturais, sendo por isso alvos de proteção por parte de ambientalistas e destino para turistas do mundo inteiro.

E pela geografia, o Pantanal e a Floresta Amazônica podem estar próximos em determinadas regiões, tendo cada um suas particularidades. Na 10ª edição do Festival de Inverno de Bonito, que inicia no próximo dia 29, o Pantanal de Mato Grosso do Sul receberá Thiago de Mello, o poeta do Amazonas, como um dos homenageados do evento.

Pelas palavras do poeta chileno Pablo Neruda, “Thiago de Mello é um transformador da alma”. Tal proximidade com o célebre escritor sul-americano se deve ao exílio de Thiago no Chile, na década de 1960, época do governo de Salvador Allende. Por conta disso, Thiago de Mello tornou-se o principal tradutor de Neruda, além de ter traduzido para o português as obras de T.S.Elliot, Ernesto Cardenal, César Vallejo, Nicolas Guillén e Eliseo Diego.

Nascido em 1926 na pequena Barreirinha, a 372 quilômetros da capital Manaus, Thiago de Mello começou a carreira literária aos 25 anos, no Rio de Janeiro, com a obra “Silêncio e Palavra”, tendo sido recebida com entusiasmo por escritores como Carlos Drummond de Andrade, Manuel Bandeira, José Lins do Rego e Gilberto Freyre.

O escritor é famoso por sua luta em prol dos direitos humanos, pela ecologia e pela paz mundial. Entre suas obras, destacam-se “Os Estatutos do Homem” (1964) e “Faz Escuro Mas Eu Canto” (1965). Thiago de Mello atua ainda em prosa e como cantor.

Ele recebeu os prêmios de poesia da Academia Brasileira de Letras (ABL), em 1960; Prêmio Livro do Ano da Sociedade Brasileira de Escritores, em 1972; Prêmio Jabuti da Bienal do Rio de Janeiro de 1997. E na década de 1980, recebeu o título de ‘Cavalheiro das Artes e das Letras’, pelo Ministério da Cultura da França.

O 10º Festival de Inverno de Bonito começa no dia 29 de julho e vai até 02 de agosto, trazendo como atrações nacionais Elba Ramalho, Vanessa da Mata, Seu Jorge e Caetano Veloso.
13/07/2009 - 23:11

FONTE: MS Notícias - Campo Grande,MS,Brazil

http://www.msnoticias.com.br/

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Saldo deudor

Saldo deudor

Publicada a las 08:25 AM del 12 de Mayo de 2009 El Nacional

Los espacios culturales tienen significación por sí solos, están asociados estrechamente a la memoria.

Las vivencias allí experimentadas son intransferibles y germen de sentimientos infinitos: la pasión, el amor, el destello que se asoma para enseñarnos cómo puede ser la trascendencia.

Más de una vez, los grandes artistas o escritores que son entrevistados, hablan de aquellos momentos ­el verso de un poema, la actuación de tal actriz, el sonido agudo de un violín, la imagen imperturbable de un cuadro­ que fueron determinantes en su formación. Son como chispazos de alta significación que cambian vidas, tuercen destinos o ven nacer vocaciones. Pero esto no sólo opera en quienes manejan entre sus manos los misterios de la creación, sino también en el público general, que es capaz de amar, odiar y estremecerse mientras ve una pieza de teatro.

A diferencia de las rebajadas vidas que llevamos, donde los muertos son noticia diaria, en el campo de la creación vida y muerte son fuerzas simbólicas que el artista maneja a su antojo para llevarnos a uno u otro sentimiento.

Traigo esto a colación porque en los espacios del Ateneo de Caracas que hoy se desalojan a la fuerza transcurrió buena parte de mi formación creadora.

Los libros presentados, las conferencias ofrecidas, los talleres impartidos, los conciertos escuchados, los espacios abiertos donde pude sentarme con mis hijos a ver títeres o el solo de una bandola, suman no menos de treinta años de vivencias, emociones, encuentros o sanos debates en ese recinto. Y ese saldo, que es difícil de transferir porque se mide con cifras que son del alma, se lo debo a todos aquellos que hicieron posible todas las imágenes y secuencias que lo han alimentado sin descanso hasta hoy.

Estoy en deuda, pues, con esos gestores, programadores o artistas que sin desvelo intervinieron en la forjadura de lo que hoy soy, y a quienes por entregarme tamaño obsequio no puedo sino agradecerles con la mínima retribución que estas líneas puedan significar.

Hablar a título personal, sin embargo, puede ser una trampa si ignoramos todo lo que esos espacios han contenido a lo largo de los años para tantos otros.

Hojeo por azar el libro Retratos de una pasión, dedicado a María Teresa Castillo, por muchos años presidenta de la institución, y los rostros de personajes como Alejandro Otero, José Ignacio Cabrujas, Sergio Ramírez, Mario Vargas Llosa, Gal Costa, Ernesto Cardenal, Barbarito Diez, Pablo Milanés, Jacques Lacan, Pablo Neruda, Julio Cortázar, Salvador Garmendia, Adriano González León, Gerard Phillipe, Vivian Leigh, Diego Rivera, Alejo Carpentier, Bola de Nieve, Vicente Gerbasi, Jacobo Borges o Morella Muñoz, vienen a mi auxilio para hablarme de una resumida historia cultural del siglo XX y para estampar el aura de diversidad, intercambio y profundo respeto que esos espacios significaron a lo largo de toda su trayectoria.

La Unesco ha determinado en casi todos sus documentos normativos que la creación o los espacios que a fomentan son la prioridad número uno de cualquier política cultural.

Es sano que esto se recuerde en un país que hasta hace pocos años, bajo el concurso de instituciones públicas y privadas, fue la envidia del continente en cuanto a oferta de institucionalidad y programación culturales se refiere.

Los que sólo se esfuerzan en fomentar la desmemoria para rehacer la historia, sepan que en el Ateneo de Caracas se hizo política cultural de la buena, pues nadie puede borrar y menos desalojar lo que queda sembrado en el espíritu.

FONTE: EntornoInteligente - Caracas,Distrito Capital,Venezuela
http://www.entornointeligente.com/

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