PHOTO: Pini-pon and refrescola (c) by Nicholas Antonioli By Nicholas Antonioli
"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.
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