Why Does My Body Hurt When I Drink Alcohol

Tribute to Leonidas Lamborghini

The power of LEONIDAS

parody LAMBORGHINI


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I have prepared a short introduction, and then I will read some texts of the cycle The applicant unseated by way of illustration, because I think it quite fits the issue before us 1.

Politics and History, or, if one country's political history lived as a constant pressure on the writing, embodied here as a destination, as fatum against which we struggle. Poetry, story, verse narrative irregular broken and panting continuous as a symptom of that over-exertion in which the voice emerges from a state of suffocation.

Violence against violence, transgression, trespass. Characteristics that mark the Applicant misplaced stage (1955-1970), which also appear in Partitas, where the poem "Eva Peron in the fire", or rewriting, where the models break pressure and reaches the dismantling and changing of texts. Are repeated, albeit with a greater exacerbation in the mate Stanislas (1979-1985), written during the years of process in exile in Mexico. No longer confined to score at Ulysses (1989-1991), one of their voices, that of Kalaf, El Salvador.

And lately hendecasyllable eddies in the Comedieta conceptual poetry, an unpublished book written in 1994 while awaiting publication. There is a short novel that was published in 1994, a love like few others, where in the monologue ovejerito in the end, it becomes a "picture of the situation."
Strictly speaking, the closer or more distant, politics and political history have always been doing that pressure on my job.

Another ending to give the same appearance to the whole parody is how tragic it is expressed. Laughter is connected to the horror, the misery sung and told from the tone of language fun, parody announcing the tragedy (as Nietzsche saw it), or the story as a tragedy that is repeated does a parody (as Marx).

between these two terms, I think, defines our reality history and politics as they learned to understand and express the gaucho: Hidalgo, Ascasubi, Del Campo, Hernández. The Gaucho as a caricature of the model, the cartoon as the truth of the model. That Sarmiento orate face and gesture disguised as a quarterback that illustrates the poster announcing this series of conferences.

Our historical-political reality is of that nature. Understood the tragedy that entails, and in the process of expressing it, the tears, the whining, do not have in my opinion as effectively as they assimilate the attitude of this distortion, assume and return times. A antiépica epic with an anti-hero as hero. The clowns countrymen Hidalgo Ascasubi, Del Campo, and this clown ripped that summarizes them all: Martín Fierro.

is, in short, a cunning art, as the reality against which to measure and react. Crafty art so you have to sarcastic, ironic. So you have to go unless, apparently, when what is proposed is to take the word of pueblero, or rather remove it to locate, in triumph, to the word of the outcast, the oppressed, in the center of the large shed .
"I am not letrao singer," says Fierro.

But the needy, as we say now, this "speechless", will remain with the word of great poetry. This power, the power of the poetic word.
I tried to explain the aesthetic that fits my work, especially in regard to the milestones outlined above, exploration of new possibilities of the comic and dramatic poetry, characters against a lyricism that became outdated by history or politics and that in any case, adopted a tone of social poetry begging. The comic as a limit from which to express the tragic. The comic as truly tragic our situation, a kind of hopeless laughter. Tragically, as seen from the comic. The meeting with the parody. Parody as really serious. Burlesque relationship with the model. Crisis on all models.

Here I make some notes: When I speak I speak of the travesty of the mixture, taste the mixture, taste for disguise, by shadowing. Macedonian remember [Fernandez], when asked what he liked poets used to say: "Mallarmé ... Estanislao Del Campo ...».

I insist on an idea that has recently come to provide support for testing new inroads into this that I call comedy is tragedy. When I tell you the truth the model is its own caricature, I return to Barthes' idea when he says that the model, the archetype, is there installed, happily, happily and parody is related to that model and any model in term of derision, mockery.

Then this alleged perfection of the model breaks down and shows that cartoon, it really is. A model (political, social, the one you like) may be being offered as a panacea to the parodist appears and shows, for example, that the truth of the caricature model is a tragic, bloody. This is genocide, for example.

Then what Nietzsche says, "begins the parody, the tragedy begins," it says in The Gay Science, in the last pages. Start parody, tragedy begins ... And Marx that says "History as tragedy, then repeats as a parody." Are the two men that have given rise to the parody that the face of tragedy. They have replaced comedy and parody, and have seen that the interrelation between these two. And he gave that imponancia and place, which is not that give the required dictionaries or literary. The lesser of a genre that makes fun of a work dedicated.

Now. All contemporary art is tinged with parody. It's parody. The theater of the absurd. Film. What to watch on television. And if we took the pejorative and we see in terms of that parody is a relationship, we wonder:
"relation with what?. Y.. with the model, "But what relationship?

Y. .. contrast and similarity.

In reality, that means it is burlesque because it is opposed to the model. Which would need to understand better is the song parody as parallel, as resemblance to the model. That is not equality. It's likeness. As the relationship of parent to child. It's parody: there are elements of similarity and difference elements.

I have used in this cycle parody, as we said, to expose the model from laughter.

And rather than mourn in front of him, or complain, reírlo. Critical that laugh, right?

The cycle includes legs at the source, The Statue of Liberty and The ten scenes of patient 2. The legs at the source, speaking of similarity and contrast with a model, try to relate (at that time we were in '66, full Peronist resistance) for this model is the Martin Fierro. The similarity was that there was a marginal mass appearing in the song of Fierro, "El gaucho", later "The Mob" for Irigoyen and "Black Head" in Peronism. There was similarity: mass proscribed, gaucho outlaw, outlaw in the campaign to outlaw this character Applicant dislodged in the city. So I I worked under a system of "urban Gaucho (baptized him and at that time). And I cared not even make a kind of minstrel song, a counterpoint between the Applicant and the Saboteur Sorry misplaced. As we say among Fierro and Cruz. With a counterpoint when, where, if you do not enter the other's voice, can not continue the poem.

You will remember that when Martin Fierro in the first half finished saying his is a man who is not going anywhere. Lost property, lost clothing, not going anywhere. Just then comes the voice of Cruz says: "great friend pa 'men are born to suffer." That is: what motivates them, you expose your experience related, makes him see you are not alone and then when the voice comes Fierro, Fierro is a game that goes anywhere. Take the initiative to say 'we Indians'. But it works from the structure itself, from the same counterpoint. If at that time comes the voice of Cruz, we have a collapsed Fierro.

Here too there is a point at which the speech from the dislodgment misplaced and Saboteur Sorry replied like a man who has been there. Like you're in hell and another in a kind of purgatory.

misplaced Applicant says, "I pause a moment veriguación background." This "I stop for a moment ', speaking of a relationship you look for similarities and differences, is the" Here I sing. " Ie in the 'Here I get to sing "there is an arrest of a character who is a homeless, an outlaw. Of course, if not stopped, if he sings, no poem.


I stop for a moment a criminal background check


try to fix very important state issues;
my poetic vein
pose Whisper contract, combination
and auction. Instead


you do not have their own voice or virtue

said
and write only I wanted
tell a lie lie to purify


The track is surrounded
of all species of all orders and classes


public especially in the first row are the relegated
. Whenever a ruler


some illustrious warrior, a vantage official


kicks off then I come
entering the ring. Sit



no one should miss a show I open my laughter black

a continuing role.

And the paunch
making mine in the country

eyed is king.


Suddenly we are in the circus, we the clown that jumps the track and start doing some tricks. The first part is the disappointment of the fall of Peronism. And here you're going to note: People

lustful greedy lazy curves
because we are good economic

a new awareness I ask
up.

And if things get
decentralize:
-Ready, let's settle
governability is speaking;

support my ear in the worker concentrated:
vibrates. Then recognize


reached to distinguish between 200,000
my good schoolteacher

had a poster with signs
blue gold.

- What kind child was you?
-a, e, i, o, u
intelligent and warm hearts
sacrilege
before she told me my best disciple
-La land to the tiller tilts

"The revolution never stops. She

. Lift
excited
the top of my brain

defoliating
fails meets meets meets meets no
not meet

"Your soul has a delicate crystal neck

-lean-
its stainless steel base is



The defeat, the fall, the disappointment. Frondizi falls:

And before interest succumb
economic thinking
reached
petró1eo babbling, industry, agriculture, livestock
.


Sin is breaking

base
close the last quotation.


still a part of walking, the outlaw, of wandering, lost in a city, shocked by their subjects. The moonlighting


increasingly more
itches
sell catfish
shakespeares used a heartless Moro

discover inscriptions
nonrepresentational
in altamira latrines.

Just this time for anything
By Step
lunch with salads

floor of the Garden of Olives.

"Not everyone
not all are" my poor

species are non-anthologized



In the old trams and in general all public transport


work is to run down below.

When a sunburn:
on the crest of a wave
bright image of my sister gets up


-Mar-mail me splendid.

My schedule is just for
that the hours passed and no

become more public health and not have it fixed
occupation.

"Our mother is happy

our brother, our father continues to grow
only awaits your arrival.

Taking advantage of my free time opportunities or losses
my
but looking for a more
soon exhaust the last
last breath. Crack crack crack


float passes the corrupted football

Where is the great Martino?

neighborhood back one day to the simple structure


cheap little houses and the Villa Park. How

pianta life years
how grumble
how death comes so quiet
.

And the Great Whore
fled to Paris in search of his love
I followed with
imagination-without love can not be well-

Caressing my soul in my solitude in my solitude

can not comfort if they saw my catrera
. Sign



Sorry Saboteur's voice and remembers when he took a job as manager of the factory. Coyo and now is nothing. Is pending. Their experience in the factory and ends:

in my face is etched
resignation accepted both vile
ostracism

later I work is health, is dignified

factor and the other is the crime
damn poetry

I was the right arm now I'm nothing

This guitar falls
and dunk my soul

hopes his latest note.


And here it comes, also in terms of similarity, how soon does the counterpoint. The Saboteur is expected as a purgatory. He says: "This guitar falls and / dunk my soul / her last note / Sleep. Just
there comes the voice of the Applicant weird.


Telegram-response 'Show up tomorrow

sandals without any commitment,
clean of dust and straw. "


There is one final weapon in two voices: "The Divine

Button Integral Success Overcoming Oh

horns of the wicked to hear this jerem


protected land grant us sleep perfectly
fart blossom

where the Ecstasy


Petitioner and public Saboteur
say goodbye
1, 2, 3
exploiting
do re mi fa sol the
yes!

launching the factory.




This is the first poem of the cycle of misplaced Applicant 2. And, as you see, the title gets it. Because "Applicants" we all are. The nature of man is solicitor. For each prayer, others through political activism. And it ends requesting at the last part of the world. Start applying for a job that does not have and ends up seeking power. Let's put it simply.
This is the great drama, right? So this applicant, misplaced as I say, start, apparently asking for a job that has been lost (though it does not say "free," says "misplaced") and we will see, in the course of the poem, what makes you feel bad is not have the power to reverse the situation. And unfortunately we are still in it. We have no power. Is that why, rereading for the whole cycle myself, I say that is still present. Ie remains.
At least in front of me. I can still talk with him. I is not old, decrepit. Meeting parties that I identify with, and through him I also see that many people can identify.



1 This text is part of the presentation of Leonidas Lamborghini in the Meeting "The Politics and History in fiction Argentina" organized by the Universidad Nacional de Litoral in 1994. The full transcriptions of the meeting was published under the title The Politics and History in fiction Argentina by the Center for Coastal University Publications.
Publications Centre © 1995 Universidad del Litoral, Santa Fe, Argentina.
misplaced
2 The Applicant (1971) meet at a single poem, the source Legs (1966), The Statue Freedom (1968) and Ten scenes of the patient (1970)





PART I OF "THE APPLICANT misplaced"
(full version)





Leonidas Lamborghini] [Literature Argentina]