As the bus moves forward, a man takes us by surprise. Begins to play his violin. What a wonderful Christmas gift ...
As the bus moves forward, a man takes us by surprise. Begins to play his violin. What a wonderful Christmas gift ...
Exterior view
When Misia Rosario (as Manucho called) decided to swim in the pool of his home in Cruz Chica, brought in an old car to the pool, she dressed down with a large baton and then ran a kind of curtains to prevent anyone seeing her as she enjoyed the contact with the water in the hot days of summer Cordoba. After the bath, sat on the terrace and ceremoniously greeted everyone who passed in front of his house, whether or not known to him or Cabezas.
Many years later, averaging the second quarter of the twentieth century, Don Ramón Cabezas decided to return to his native Spain. Before traveling, left power to his wife and stepson for them to have all their assets in a short time, mother and son squandered his fortune by selling to the furnishings in the house of Cruz Chica.
When heads came back from Spain, six months, was found broken. To try to get out of the economic crisis, was forced to sell Paradise. Shortly after he died in poverty.
The house was bought, then, a man named Parada, who was left an inheritance to their daughters. Stop daughters, their husbands, reformed and expanded the residence. Over time, lotearon the ground and then in 1957, went on sale the house.
Eleven years was the sale sign in " Paradise ", which remained closed and in ruins all that time, with a fleet of six and a half acres had become a thick forest and messy. ***
II .- The Paradise of Manucho
View from the street Manuel Mujica Lainez
In 1968, on October 18, Manuel Mujica Lainez first visited Paradise. I was in Cordoba with his wife, and then started looking for a place to live when he retired from the newspaper La Nación, away from the hustle and noise of Buenos Aires.
As Anita Manucho and toured the house with Laura Saniez and Martin Bartholomew, opening windows and shutters, it was populated mind every room with his books, furniture, antiques, paintings and art objects.
The house cost eight million pesos, an amount Mujica Lainez had not at that time. But anyway, it was Paradise knowing that this was where he wanted to live his last years, and that "sooner or later would be his.
Months later he revisited the house and furnish it with your imagination. At that time decided to buy, and bid in a letter seven million pesos, its owners agreed. However
have lowered the price, Manucho set the mode of payment: early January 1969 would deliver the first million, later this month the second, and the remaining five in April. The first delivery came from author rights and Glori Forti Award he received in 1968, the second from the sale of Portrait of Miguel Carlos Victor, that the painter had given him when he painted in 1948, and the remaining five million, of future royalties and inheritance to Anita.
On 24 February 1969 completed the delivery of keys in the English Gallery of the entrance near the mosaics that play Surrender of Breda. Martin Bartholomew immortalized the event in a series of photographs. On April 19 the writer and his wife ended up paying the house, and then began to organize the move.
In early May, he left the first moving truck, carrying objects and furniture of the house from the street O'Higgins 2150 Buenos Aires, to "Paradise." He was succeeded by another ten.
The move lasted seven months, in which the novelist sat piece by piece in each room in the house, according to sketches he performed, and ordered twenty thousand volumes from the library. Anita was the only person allowed to help Manucho in the hard work of moving house. During the time it took to move, the novelist lost seven kilos and became ill, and that sickness distracted him from his work to the point that for almost two years did not write or publish any book.
While organizing the move, Mujica Lainez wrote the story Punilla Valley and asked the potters Mabel and Maria Castellanos that the copy in blue on a white tile to put in the patio. In turn, commissioned a niece Rosario Pizarro to make ceramic coat of arms of Pizarro to put it in the entry as a tribute to the makers of the place. In December 1969
Manuel Mujica Lainez finally settled in Paradise, along with Anita, her mother and three aunts Lainez (Josefina, Ana Maria and Martha). Since then, the old house Cruz Chica was Manucho's Paradise: there, enjoying the closeness of the mountains and the charm of the house and garden, Manuel Mujica Lainez wrote forty percent of his work, where she lived, and dreamed, surrounded by friends and family there mourned the death of his mother and aunts Josephine and Anna Mary died there in the fall of 1984, and his spirit lingers there, accompanying every visitor looking for him, comes to Paradise. ***
III .- Walking Paradise
The visit to the house begins in the courtyard adjacent to the dining room with a cobblestone terrace beds and a statue gray stone plays Vigier Philibert Achilles found in the Tapis Vert Palace of Versailles.
Achilles Across the inner door with rectangular glasses and black bars, bars that put Manucho and which were donated by Teresa Aguirre Guerrico, passed the smoking-room terrace. In the living room in a corner, is the favorite chair of Mujica Lainez, where he sat smoking and talking with friends after a meal at his side, a round wooden table with religious imagery of yesteryear, then two chairs facing each other, one on each side of the fireplace. Behind the couch left on a narrow wall between the windows, there hung a Komuso cane, just over two meters, which was a mendicant monk eighteenth century Japanese and Mujica brought from his trip to the East in 1940, along with the trail Manchuria funeral that is embedded in the fireplace on the reverse reads a curse for those who stole it: "Nobody dares to touch this stone in the shape of Buddha, which I cut in this month of spring, in a reign of Yuan Dynasty because my curse fall upon him. " On the console there are five huacos anthropomorphic chimney from the Chancay culture were used for tribal rites in the ninth century in Peru. In the same room, two tables allegorical pieces exhibit the works of novelist seven demons out of metal and various beetles of different materials.
Hall portraits
Crossing the Hall of Portraits, you get to a smaller room where the library preserves part of Mujica Lainez. Salita is the area, where food was served in winter. On the shelves, covered by glass doors, "the books share space with pictures of friends, Victoria Ocampo, Jorge Luis Borges, Silvina Ocampo, Eduardo Mallea, Gabriela Mistral, Alberto Girri, Sara Gallardo, Guillermo Whitelow, Alberto Gerchunoff, Ramon Gomez la Serna, China Zorrilla ... A case keeps oldest specimen of the writer's library: a book published in the Renaissance, in France surrounding individuals dedicated to Manuel Mujica Lainez by Alfonsina Storni and Federico García Lorca, among others. Opposite the library, and around the fireplace, a set of dark wooden chairs and small tables adorned with books and furniture complete the room, whose walls are highlighted boxes Soldi, Basaldúa, Cordiviola, Aldo Sessa and Miguel Ocampo, and a coat of arms set into the fireplace.
For an arcade (guarded by Suhurt mask representing the Unicorn) is passed in the Salita Salita tea plants. It is surprising that there still plants Ana de Alvear, surrounded by paintings and objects d'art. A small table by the window shows the last photo of Manucho in family appear on the printed him, his wife and children (Diego, Ana y Manuel) the day the writer received the Legion of Honor from the hands of SE Ambassador of France in Argentina. Opposite, on a coffee table with glass top are some medals and medals awarded to Mujica Lainez. A showcase stores the complete works of Poe, and the walls are made by leading his own cartoon characters. Some of the curiosities exhibited there are Mujica horoscope charted by Xul Solar, and a wooden tray signed by friends of the novelist: Silvina Ocampo, Adolfo Bioy Casares, Norah Borges, Eduardo Mallea, Susana Aguirre, Lino Enea Spilimbergo, Raquel Forner, Cayetano Cordova Iturburu ...
An arcade allows Salita move from plant to the library of the writer. The walls surrounding the room were covered by two rows of shelves with books and today there are empty spaces occupied by tables. Accumulate on the table lamps, statues and objects Manucho art he collected. Next to a table in an umbrella stand, lie some of the sticks he used Mujica Lainez.
Desktop
MML
"Although the current Argentina poetry does not tend to look literary tradition, turns his speech to the mass media, using social discourse, some other speeches echoing music can be an easy generalization between current poets of that nation. If still in poetic literary markets tend Argentina consumed the books of the "monsters" literary (Girondo, Borges, Pizarnik, Orozco, Lamborghini, etc.) the young contemporary poetry tends to spread through reflective value, its "new" proposals. However, for a poetry that looks back to its tradition, what is? ".
Parra Manuel Aguilar, Mexican poet (1982) asks us to that comment about how will this mix of proposals that we offer the new poets of Argentina. In open dialogue between peers are doing a thorough analysis of what is written today in our country, but not by visual an author of previous generations but by poets belonging to the same generation to which we belong, is characteristic that a foreign poet theorize about what we write and even more to have our own age. Some critical texts are published in the journal line cosmonaut (Mexico).
The themes are always rich and complex, but have seen a thread that engages in relationship situations that show at least a common trend: ironic about the world and its actants , taking elements of childhood as a starting to revive in the rereading of the poem, the creative act, as if each line is described herself, but without falling into details, will try to put those elements in a state endowed with playful language that nobody would dare to say. Is to emphasize that these poets of the new century bring a social burden in addition, since most were born or at least lived their childhood in a democracy. There is also an encouragement to mobilize certain nerves, to irritate, to awaken the other with an air or turbulence laden freedom, but through concrete actions, performances, virtual magazines, blogs, groups. Poetry these writers manage to convey the liberation that have seen their eyes. The thread I referred to above is no doubt: the irony. Parts of the poem interact with the reader comes to him spontaneously and without realizing the poem pokes or corrupted, it generates a state of identification, at least partially, but clear and straightforward, thanks to that attribute of ironic dialogue with the language of advertising or neo-pop (painting), to some extent. It is important to distinguish between "tradition" and "traditional", for which at this point one can sense that we are a continuation of the first but refused and beaten to the second. The poetry is beginning now, is submerged, diving at this time in the unattainable, takes as its own all of discarding elements of s. XX, reuses for its stylistic purposes, the poem is built for resources rhetorical linked but are essentially rhetorical concretions, each poem separately acts as an extended metaphor that does bienherir. These concepts and words have not changed, what has changed is the use that is given to the smallest unit of shock: the verse.
names abound in this new scenario poetic disclosure to all offended.