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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It is this final clause that runs in counterpoint to everything preceding it, but more, that completes everything. This book is hard to write about, around, through.

The original version of that first line is two. The problem this brings the translator, of course, is how to remain faithful.

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. It ties itself to the Word. Between the two is the center-aligned column, the Middle Version.

In the Moremarrow/En la masmedula

Mi lubidulia builds to mi golocidalove. There are moments in the middle lz, in column 2, that actually appear quite poetic, whether intentional or not. Which, in creation myths, sounds like the soul blown into dust to animate a person.


A photograph, in this case at least, is not a poem. He was born in Buenos Aires, Argentina in It is more primordial marrow. 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.

It is not a garden.

Quote by Oliverio Girondo: “una libélula de médula una oruga lúbrica desnud”

Faithfulness may be a practice rather than a result. It represents, among other things, a re-envisioning and re-fashioning and renovation of the Spanish language proper.

A lot of poems end on their own titles, creating a feeling of being in an enclosure. It is split into two short sections. It hermetically seals itself. There are 45 mouths. Maybe this is necessary. I want to explain. The first left-indented column is the original Spanish poem. His first book, Veinte poemas para ser leidos en un tranviawas published by a small French press inand Calcomanias was published in Span in Nasmedula wants to be subject to objectification? Maybe something about the male poet accepting his anima, that female part of him that is stubbornly there but his machismo stubbornly rejects.

Variations on a theme of water. My Lumy does this, too, at its best moments. Mi lu builds to mi lubidulia. Every left page gives the original Spanish version of the poem, and the right page ne the translation.


But kliverio love takes partners, too. Because it rewrites itself by correcting the mistakes of our World. 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.

This seems a problematization.

What we have here is Reproduction vs. Is there an authoritative, origin-al essence to be mined at the bottom? Therefore the recombinations in this book are all still legible, because they adhere to grammar rules girondp comment on them while deforming them. InGirondo married fellow writer Norah Lange, and during the mids their house in Buenos Aires served as a gironvo place for the younger literary generation, including Francisco Madariaga, Enrique Molina, Olga Orozco, and Aldo Pellegrini.

It takes an object.