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Comedias : Soldadesca , Tinelaria , Himenea. Pereira, Benjamim Enes. Rebello, Luiz Francisco. Ribas, Tomaz. Gil Vicente e o Fim do Teatro Medieval. Stathatos, Constantine C. A Gil Vicente Bibliography London: Grant and Cutler, Luso-Brazilias Review Trapero, Maximiano.

Pervivencia del antiguo teatro medieval castellano. Young, Karl. The Drama of the Medieval Church. London: Oxford University Press, Virginia Polytechnic Institute and State University. This study questions various dominant critical stances informed by his theoretical approach through the examination of Girardian premises in light of two challenging narratives. Instead of employing the theory to read the texts, the authors use the texts to read the gaps and dislocations inherent in the theory. The findings suggest that rather than propagating an androcentric, triangular configuration of desire, Cervantes's construction of gender leads toward the re-construction of existing critical paradigms.

Thus, although grounded in the analysis of Early Modern Peninsular literature, this article holds implications for the consideration of desire in other historical periods and literary traditions as well. The current study diverges from this critical tradition in that it resists the unquestioning acceptance of a paradigm of human behavior based on rivalry and violence. Such a model seems not to consider Cervantes's vision of humanity's capacity for generating more pacific rituals or strategies for interaction.

The triangular love relationship, in which a woman of great beauty is besought by at least two inopportunate suitors, is a persistent narrative plot paradigm in Golden Age fiction. Within humanists' obsessive search for identity and knowledge, the conflict reflects the more profound spiritual contradiction man feels between an actual sense of fragmentation and mortality and an imagined unified self.

Woman's place within the neoplatonic epistemology is to act as the cipher of the hero's desire. She is the goddess who will fulfill his destiny. The bonds of reciprocated love will produce the blissful state of wholeness. Yet if she refuses this representation, bestowing her favors instead on the rival, the closing of her eyes dooms the ill-starred lover to loss of the self, epitomized by the eclipse of the sun or a chaos of cosmic and catastrophic proportions.

In Cervantes's work, the second female type abounds. She either refuses the seductive advances of one or both of her suitors on her own volition, as do Preciosa, [12] Costanza and Marcela, or is made to assume the role of the femme fatale , as do Camila and Luscinda, one which Dulcinea exemplifies ad absurdum. Deceit , Desire and the Novel has been influential in providing a psychological motivation for the triangular amorous relationship in Cervantes's work with Girard's by now well-known metaphysics of desire. If in the neoplatonic philosophy the suffering subject may obtain eternal bliss by virtue of his union with the superior goddess, the embodiment of the absolute, in his metaphysics, the object is false, and contains no inherent value.

The figure of the rival model emerges to guarantee, through his mediating desire, the separation of the subject from the object of desire and to prevent thus the discovery of the object's mundane reality. In a later work, Things Hidden Since the Foundation of the World , Girard further defines the role of woman in the mimetic process. Bereft of innocence, the coquette's deceitful posture is to foster desire.

She only pretends to desire herself in order to make herself desirable to others. Her goal is to put into play the mimetic process The fraudulent pose of the coquette achieves its desired effect by drawing all other desires to it. In her illuminating re-reading of the above work, in The Enigma of Woman , Sarah Kofman exposes the ideological bases of Girard's representation of woman. For Girard, self-sufficiency in women is unavoidably deceitful, having little or nothing at all to do with a regression toward an earlier fantasy that Freud has posited Moi Her work invites scrutiny of Girard's monistic representation of desire which subsumes woman's desire under the rubric of mimeticism and the challenge to seek the specificity of sexual difference and female subjectivity.

Particularly emblematic of the narcissistic woman is Costanza. Her great beauty has won her a reputation which extends beyond the boundaries of her own village. During what was intended to be a brief rest in the village, the friends overhear two mule boys praise the [13] beauty of Costanza, the kitchen maid at the local inn. His desire becomes more intensely grounded each time he overhears Don Pedro's serenades and the conversations of the guests and the villagers expounding on the nature of his impossible love and Costanza's beauty and cruel indifference.

Anticipating her presence by initial identification with her suitors, the reader assumes the role of accomplices in her fetishization. Carriazo, however, still harbors his original roguish inclinations. In their examination of the presence of pastoral romance and picaresque elements in the text, Joaquin Casalduero and Robert Johnston affirm that the moral dilemmas and values of the two genres converge and mutually reinforce each other. The disguises, changes of identity, and sojourn, inherent to both the pastoral and the picaresque, enable the young men to return to a natural state where they may acquire self knowledge.

Similarly, Carriazo struggles between his desire for freedom and the strong social bonds imposed by his noble origins. The recombining of literary models clearly aligns the respective conflicts and protagonists. Thus, Costanza emerges as the figure of spiritual redemption the return of both protagonists to an original or improved social position and the restoration of social values. Costanza is the chaste goddess Diana. Yet other critics do not perceive a pristine opposition between or harmonic blending of good and evil in the conflict and resolution of this tale.

The studies of Jennifer Lowe, R M. Price, and Javier Hairier show that not only is each particular genre parodied by its particular reintegration of conventional material, but also by the juxtaposition of conventions pertaining to disparate and shifting generic discourses and styles. The use of paretic or ironic juxtaposition is eminent in the configuration of plots, characters, and discourse of the text. The plot types pertaining to the picaresque narrative and romance are ironically linked.

The tale of love, which is joined to a larger comedy of loss and restoration, does not flow smoothly, but is cut up into various scenes and organized within but not among them. The reader is unable to follow the main characters of romance in a linear fashion. Their destiny shifts out of focus and a series of uneven Events associated with the picaresque genre and the comic mode in general come to the fore. As characters cross from one genre to another within the tale, the perception of the divine radiance of Costanza's beauty becomes increasingly blurred as demonstrated by Carriazo, an intergeneric character.

He performs the role of protagonist within the picaresque narrative of the novela , but he is also co-protagonist in the lost child found. As the motif develops, Carriazo is discovered to be Costanza's half-brother, and is eventually eliminated as a potential rival. Nonetheless, the initial overt motivation in the text for his withdrawal from the mimetic chain stems from his roguish inclinations.

His yearning for freedom, enemy to love's bonds, outweighs the pull of erotic desire. His running commentary on the material inconveniences of love and his generally misogynistic perspective shatters the fetishistic mirror of Costanza's sacred mystery, erected in the world view of romance.

The building up of the object and the destructive despair the rivals should experiment in attempting its acquisition is blocked as the circulation of desire between the rival suitors is thus diffused. The role of mimetic rival is ultimately transferred to Don Pedro, the mayor's son. This country boy, who sings verses of love in the platonic tradition, is a weaker presence in the tale. He is an unlikely figure as a rival, for he is incapable of inspiring fear, hatred or veneration.

He represents a parody of the rival figure in pastoral romance. Since neither Carriazo nor Don Pedro undertakes any active measures to appropriate or seduce the desired object, the suspicions of the jealous lover reveal themselves rapidly as illusions that no longer pose an actual threat of loss, disorder or destruction -either to the protagonist or to the engaged reader. The ironic use of the narrative conventions that prescribe Costanza's preordained course within the romance sequence further weakens it. The ironies emerging from such implausibilities impel the reader to reject the prophetic role that Costanza is to play [15] in the drama of redemption of romance.

According to R. Price, such coincidences and improbable accidents exceed the level of satisfaction that the reader should gain upon witnessing the narrative knots unravel. The reader ultimately comes to view the unraveling of the love story as one involving unforseen or chance Events, and the ability of each character to govern adequately his or her own destiny or be guided appropriately by others Costanza's limited social graces, evidenced in her abrupt and at times surly speech, clash with the high style that her suitors use to court and represent her Lowe Indeed, as Barrenechea has noted, Costanza remains an empty character that the reader only knows or comes to understand through other characters An understanding of the subjective motivations of these characters should lead to the reader's dissociation from their subjective position.

The final discovery of the tale, told in part by the innkeeper and in part by Costanza's father, provides a description of Costanza's earlier years that signals an economy of desire which circulates between mother and child and that absorbs within it a primary narcissism. The great refusal woman is said to embody in the classic narrative of romance veils what Kristeva calls the hypothetical or intersubjective space of the mother's body in and after childbirth, a space that exists but cannot exist between the baby and the mother.

Costanza experiences the mother phantasmatically as she clings to this marginal space of the inn, even while separating from it. For Costanza, still cloistered in the transitional object of the maternal body, linked to the inn, the place of her birth, the Mother is the figure for the drama of separation narcissism , from which the subject and language emerge. The maternal semiotic persists in the silence that pervades the narration of Costanza's story, miraculously marking Costanza's birth and functioning as a means of resistance to the violence of the original rape. Costanza further evokes the eclipsed figure of her lost mother in her re-presentation of her: in her persistent absences, her withdrawals, her positioning beyond representation, a positioning which baffles her suitor's continued attempts to name and represent her.

The climax is reached only when Costanza leaves the inn, weeping uncontrollably, and clings to her surrogate mother, the innkeeper's wife, who links Costanza to her mother. Instead, this narrative logic is decentered. But it also signals the repression and loss of an earlier, more primitive yet equally imperant desire. Her conflict is parallel to that of her half brother. Costanza and Carriazo both fluctuate between the past and the present the M other and the Father.

As Cascardi convincingly demonstrates, Cervantes takes a progressive step in his treatment of romance because he is able to subordinate his characters to the moral demands of society while sublimating the rituals of mimetic violence and rivalry that are traditionally used in the dramatic works of the period as a means of achieving this cohesion Nevertheless, Cervantes's treatment of romance is even more radical. Costanza best illustrates this point. Simultaneously she yearns for the Law and yearns to transgress or retract it. The innkeeper's wife therefore accompanies her to the mayor's house.

Similarly, Carriazo gives in to the demands of his social rank and status. Ultimately, narcissism is ever latent in the human psyche, not as the mimetic form defined by Girard, but as the. Cervantes's exploration of humanity's efforts to find psychic, spiritual, and social unity reveals his understanding of its impossibility.

With the technique of genre crossing and the heterogeneity that it engenders, Cervantes sketches in the closural patterns of romance and the ideology it perpetuates -unity, sameness mimesis , autonomy, and order- while forever alerting the reader to their illusiveness. By means of the heterogeneity of the text, the reader's potential tendency to perceive Costanza exclusively as object of male desire is neutralized.

Costanza is also the subject of desire. She is a pivotal character, figuring the ideology of romance in which Girard's mimetic model of desire is entrenched, but also the point of its disruption and undoing. The consideration of Cervantes's multifaceted Persiles also yields insights into dislocations of mimetic desire.

The text traces the progress of two royal lovers who embark upon a pilgrimage to Rome -not only to fulfill a holy vow, but also to prevent Sigismunda's marriage to Persiles' older brother. Pretending to be brother and sister, the pair adopt the names Periandro and Auristela. Throughout the course of their adventures, complicated by a series of disasters including devastating shipwrecks, cataclysmic fires and ritual sacrifices , they encounter many other pilgrims and adventurers, each of whom recounts his or her own story.

These tales most often revolve around love and its complications. Although replete with conventional triangular configurations of desire, the Persiles nevertheless resists an unquestioning imposition of the Girardian model. As Ruth El Saffar has noted, the protagonists' attempt to escape the confines of triangular desire represents the initial catalyst for the journey that forms the core of the work. The Persiles furthers this exploration of other forms of desire. Beyond these insights, however, the Persiles challenges various assumptions underlying the theoretical construct of mimetic desire not only in this isolated episode from the third book, but rather throughout the entire work.

Thus, these inversions allow for the exploration of the inherent power disparity that otherwise would remain concealed. The gender asymmetry of mimetic desire is explored in both Books I and II, when Rosamunda and Cenotia actively pursue the object of their desire, Antonio, [18] the young barbarian. Significantly, the hunter becomes the hunted. In Cervantes' text, on the other hand, it is a male, Antonio, who embodies the narcissistic coquette, furthering the reversal of the paradigm.

He actually attempts to kill his admirer, but instead strikes the slanderer Clodio in the tongue, silencing him permanently. These passages serve to challenge the Girardean association of narcissistic desire with woman. Moreover, Antonio's exaggerated behavior and his father's strong reproach question the validity of the narcissistic posture itself.

The second book contains another intriguing deviation from triangular desire within Periandro's narration: a quadrangular model of desire. Although Periandro's lengthy account of his heroic adventures and the critical commentary it elicits from his listeners have received a great deal of scholarly attention, most has focused upon the textual incorporation of neo-Aristotelian literary principles to the exclusion of other concerns.

Periandro and Auristela, forewarned by a sailor, flee from the captain of their ship who planned to kill Periandro in order to possess Auristela. As they escape this potential triangular conflict, they become entwined in the amorous complications [19] facing two couples. Carino and Solercio, both fishermen, are betrothed to the women chosen for them by their families, Selviana and Leoncia. El Saffar has observed that:. In all of Cervantes' stories of love fulfilled in marriage, the resolution comes about through the introduction of a fourth figure who had formerly been neglected by the characters who saw themselves locked into the endless frustration of the triangle It is no accident, as the reader might have already noticed, that the shadowy fourth figure in Cervantes' stories is always the undesired, undesirable female.

Beyond In the present case, however, the situation contradicts this characterization. In addition, Carino's desire for Leoncia challenges the specular equation of attractiveness with desirability. Auristela, once informed by Periandro of the lovers' twisted fates, approaches the women saying:. This brief episode lends itself to a critical exploration of the representation of desire. The conflict here arises not from mimetic rivalry but from compliance with a societal system that permits parents to dictate the text of their children's lives. Even though Auristela supposedly voices their position, their desires are always mediated through an Other.

Yet, if woman has no position from which to speak, what enables Auristela to bring about the resolution of the dilemma? As she assures Leoncia and Selviana, she is confident that the others involved will accept her intervention and heed her wishes. Implicitly, this interlude explores gender asymmetry and its relation to power.

Whereas the two women from the same class as their potential mates do not have the power or authority to express their desires, Auristela recognized as belonging to a superior echelon -may speak authoritatively. Nonetheless, her intervention does not alter the subordinate position occupied by the women; rather, it accentuates their subalternity by replicating their objectification within masculinist discourse.

Revealingly, immediately following the weddings, corsairs kidnap all three women. Although Carino, Solercio and Periandro set forth to rescue them, only Auristela is ever heard from again. Throughout the text, the protagonists have been involved in numerous triangular relationships including the rivalry between Arnaldo and Periandro for Auristela as well as that between Sinforosa and Auristela over Periandro. Again, one must note that the genesis of their voyage stems from a triangle in which Persiles' older brother, Magsimino, is betrothed to Sigismunda.

She ardently pursues Periandro, [20] resorting to magic to eliminate her female rival. The spell she commissions completely destroys her victim's beauty. Auristela's consequent unattractive state dissuades her faint-hearted suitors, among them the Duke, but does not diminish Periandro's love, proof of his devotion Her representation in this episode functions, as does Leoncia's, to undermine Girard's representation of the narcissistic woman whose purpose is to incite desire through her physical beauty. Her hideous appearance frees her from becoming the object of purely specular desire and precludes her from participating in the mimetic dynamic of rivalry.

But Auristela ultimately chooses Periandro over God, redirecting her desire from the spiritual to the physical. Their union and the recovery of their original identities as Sigismunda and Persiles coincide with the death of Magsimino, the resolution of the last remaining rivalry. The complete elimination of the rival signals transcendence beyond the triangular mode. Although Girard developed his theory of mimetic desire in part through his reading of a Cervantine text, his system does not account for the untold variety of relationships between self and other found in Cervantes' opus.

Of these strategies, we have outlined three. One exposes the means by which the model of mimetic desire rearticulates androcentric paradigms by masking or repressing female subjectivity. Another explores dislocations of the triangular model of desire in a text, thereby transforming the configuration. Yet another considers other motivations for the apparent narcissistic role of the coquette such as filial or societal pressures brought to bear upon the individual.

Thus, Cervantes's construction of gender and desire ultimately leads us to the re-construction of critical paradigms. Andrist, Debra D. New York: Peter Lang, Cervantes, creador de la novela corta. Valencia: CSIC, Madrid: Gredos, Bataillon, Marcel. Madrid: Blanco Aguinaga, Carlos.

Notas sobre dos tipos de realismo. Cascardi, Anthony. Cervantes Exemplary Novels and the Adventures of Writing. Michael Nerlich and Nicholas Spadaccini. Minneapolis: The Prisma Institute, Hacia Cervantes. Madrid: Taurus, El pensamiento de Cervantes. Barcelona and Madrid: Noguer, Cervantes Saavedra, Miguel de. Novelas ejemplares. Harry Sieber. Los trabajos de Persiles y Sigismunda.

Chamorro, William H. Cervantes 7. Combet, Louis. Lyon: Presses Universitaires de Lyon, Dunn, Peter N. Suma cervantina. Juan Bautista Avalle-Arce and E. London: Tamesis, El Saffar, Ruth. Berkeley: U California P, Hernan Vidal. Minneapolis: Institute for the Study of Ideologies and literature, Baltimore: johns Hopkins UP, Kevin Brownlee and Marina Scordilis Brownlee. Denver Quarterly : Deceit, Desire and the Novel. Baltimore: Johns Hopkins UP, Things Hidden Since the Foundation of the world.

Stanford: Stanford UP, Gossy, Mary S. Ann Arbor: U of Michigan P, Hutchison, Stephen. Journal of Hispanic Philology 14 : Henry, Patrick. Cervantes Spring, : Herrero, Javier. Wlad Godzich and Nicholas Spadaccini. Minneapolis: U of Minnesota P, Gene H. Willamstown, Mass: Williams College, Johnston, Robert M.

Michael, D. Easton, PA: Juan de la Cuesta, Joly, Monique. Korner and D. Weisbaden: Steiner, Kofman, Sarah. Catherine Porter. Ithaca: Cornell UP, Kristeva, Julia. In The Kristeva Reader. Toril Moi. New York: Columbia UP, Leon S. Lowe, Jennifer. Munich, Adrienne. New York: Methuen, Pierce, Frank.

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Troppo Fuori. I Moderni. Turn Up the Music. Tutto Da Capo. A solas. Muere a solas. Es justo. Te queremos. Duele verte. No sospechas que ya te dejo ir sin regreso. Repetir de memoria tu voz de pozo fresco, el brillito de tus ojos. No sospecho que ya me dejaste ir sin regreso, que prefieres vivirme sin noticias. The news is true, abused by boredom, you live taken by fantasy. I would cross the bay walking and it would come to you. I would cry. If I could cry, if I could get there, if my old embrace could strangle the worm that eats into your calm.

There is no anesthetic possible. The pain that once opened holes is now the holes. You are a dog that bites its tail. Better kill the dog. Die alone. The others. We love you. So much. It hurts to see you. Like that. You are not convenient. You do not suspect that I am letting you go without return. Living without news is sweeter.

Repeating from memory your voice of fresh well, the little shine of your eyes. I do not suspect that you already let me go without return, that you prefer to live without my news. It hurts you less to let me die in my corner without complaint, without mourners, without your care, abused by boredom, taken by fantasy. Rosana Acquaroni Spain, Madrid, Poet, visual artist and educator. She earned a doctorate in applied linguistics at Universidad Complutense de Madrid. Her poems have been translated to several languages and received literary awards.

In Birckbeck College London University she studied documentary filmmaking. She has directed and produced film festivals in Thailand and Buenos Aires Since , she teaches at Univesidad Nacional de las Artes UNA , where she conducts the research project: The two imaginations of Ricardo Piglia: fiction in literature and film. She taught film language in Padang, West Sumatra, Indonesia. She is the author of Portrait of the invisible man , a film editors choir In his new literary work, Rush Hour and other stories to read on the train , he visits for the first time the world of prose.

But experience teaches us the opposite. Demonstrations and endless funerals will not save Amazonia. I want to live, I want to live. Today macaws sing your song, a song of hope and struggle, a song of the barkings of the heart a song of the Earth that is heard. So you screamed Chico, and I heard you, so you flew and I felt you between the trees you saved in Brazil, that jungle belonging to the world and to me. Perhaps a silence standing in the corner expecting a little more rain and less thirst.

Writer, poet and Human Rights advocate. Reality is limited by the totality of poetry. Poetry does not have limits. Interviewer, is requiem. If that is so, then, poetry is its flowering: enchantment of the flower. Poetry alone has the daring to leap over it. Natalia Chamorro : Poet and academic. Natalia is also a Ph. Now this blues drags you. The sounding body of the phantom under the table pushes against the line. Now the light presses crooked backs against the grim of earthy colors.

The scenario sparks something in your head. Now the dazed aroma submerges you in a sweet sour chemical, unfair mixture of the third space. In the rustic frames of others, the images darken at the heat of plastic, of a crossing point-corner. Ahora este blues te arrastra. El cuerpo sonoro del fantasma bajo las mesas empuja contra la fila. Ahora la luz presiona los cuerpos curvados contra la mugre de los colores tierra. El escenario chispea algo en la cabeza. Animal Days Animal days, oxide on the eyelids; paint your nails with the blood left on me and let life come in, with its joy and lights, into the back of the room.

Cockroaches mew in the corners of the bathroom but their music at midnight sounds classical to me. Animal days: a beast in the darkness and early in the morning an insect on the lamp. A dead butterfly. Mariposa muerta. Book One will be published in Uruguay, Poet, narrator, essayist, journalist, editor, cultural manager and social activist. He has published seven books of poetry, four books of essays and one of narrative.

Llueve y la noche se inunda de miseria techos naufragando sin casas en la profundidad de la nada interminable. El desconsuelo seca mi boca y Dios sigue de largo. Raining, the night floods with misery roofs without houses shipwrecked upon the depths of endless nothingness. Distress dries my mouth and God moves on. Would he have kept on wandering in the final Subway car of thought Devoid of dog and friends, Ithaca and wife? Translated by Tracy Lewis with the author. She has one published novel, Acordados Vaso Roto, Our generation was never allowed to see the ocean for the first time.

It has always been within, sparkling, the great same as us all. We were born already morbid whales poor devils drowned in this illuminated role And it is such a teeny miser, this desire. We just wanted to see the goddamned ocean please, for the first time. Poet and publisher. She started writing rhymed poems when she was eight, and she rhymed even before she learned to write, in her early childhood.

Her poems have been translated into eleven languages. Currently, she works in the field of creative development. I am a woman—an open window, who buries a naked bastard crosswind every night in the garden. I quietly cut a clutch of hair. In my stables,. Let him be. My love, give me that box with needle and thread—I want to sew up my hands with dreams.

Ir nereikia. Nueva York, Oct. Actualmente es miembro del Sistema Nacional de Creadores de Arte Emily Fragos is an honored American poet. She has served as guest poetry editor of the online journal, Guernica , and written numerous articles on music and dance. She has long volunteered to teach poetry to the disabled and the elderly and she has been honored for her volunteer work with abandoned and abused animals. Diariamente caen alfileres sobre su claridad, bombas de humo, Incienso. Una bicicleta rueda sobre la tarde en busca del amor.

Torture bandages the eyes of damned pleasure, the lovers provide clavicles, migraines, they do not keep track of time, the night unearths an orphanage, denounces the other face of emptiness. Pins fall daily over her clarity, bombs of smoke, incense. A bicycle circles the afternoon in search of love. Doors were lost, the sun stays too long, notebooks take moons, More stars return to summon the leap, the journey of hiding ourselves caresses a broken compass. The determination to self-destruct incites torture, gives light to its chains, a surge of deaf bonfires returns a naked dog and the morning loosens canes in order to walk the round, circling through blind corridors, or children who surround an anxious river.

It disappears devouring a piano, negotiated by an absurd freedom and that battle with the light that makes them ragged, rabidly useless. Today they lost their feet, later on love will consume the liver, then it will chew the remains of a laughable lung, but they will not intimidate the distant beams of an unfortunate bicycle that has lost its way.

Maryam Alikhani, M. She is teaching at CUNY and doing research on teaching of poetry, technical writing, and composition. In her poetry, she is in conversation with the world she lives in, and she bridges over the borders of languages, cultures, disciplines, genres, and forms. No matter where I go, I thrive, line by line like plane trees I am ancient and deep, root by root like baobab trees. I have plenty of uses, like three hundred and sixty I am a heritage, seed by seed like coconut trees. I beat the tallest species, by some five hundred feet And I am healing, leaf by leaf like eucalyptus trees.

Cherish me as much as Al-Badawi in the West Bank I am a symbol for peace, branch by branch like olive trees. I enlighten you as Siddhartha. Come, live in my shade Then take me to your after life, twig by twig like fig trees. No one has ever heard of my death neither have you; for I live tall, mighty, proud, trunk by trunk like sequoia trees. Write me like ancient Persians, or modern, like Maryam Read me; remember me, word by word like evergreen trees.

Born in Ecuador, she has lived and travelled in Europe, Asia, and the Americas. Her work has appeared in numerous Latin American magazines and newspapers. She is the author of eight books, published in the United States, Ecuador and Bangladesh. Yet, the world is uncertain Only the edge Of a sword, worn.

Magic Sing Spanish English Song Chip - Song List

Bajadur is your name, You reign over Delhi, A scholar lost Among rituals and fear, Suffering your lineage, Shut like a fist, Transparent, made of crystal, Unfinished. In his cold lap, In his red compound, One day, without mystery They will come For you. Bajadur es tu nombre, Bajadur, el poeta, emperador de Delhi emperador del mundo, pero el mundo es incierto es apenas el filo de una espada, gastada. Esta es la Vena Cava que no acaba de yugular tu pecho en mi pecho. Tambor Este es mi cuerpo libre. Estos son los altares.

Mis graves ojos nevados. Vuelo Blando. Escritura de rosas y ciervos y jazmines. Este es mi cuerpo libre. Mi pan de otros cuerpos. Tendones que se dicen en hilos de Luna y de Sol. He is a founding member of the Research Seminar in Contemporary Mexican Poetry, which was coordinator during the period Articles and his poems have appeared in various books and magazines published in Mexico and Latin America.

Gianluca Grignani - Mi Historia Entre Tus Dedos (1995) [ESP/ITA/CHI/ENG - CC]

Escribes como quien recibe un soplo de luna en las mejillas. Escribes para jugar a las adivinanzas, escribes acerca de falsedades y apariencias porque no hay verdad que valga en tus palabras. On the next decade he was in charge of Letras del Ecuador , literary magazine edited by Casa de la Cultura Ecuatoriana. El tiempo esa pluma, y, Textos y Pretextos Quito Nosotros los de entonces-anthology Quito Since he is on his third presidency of Casa de la Cultura Ecuatoriana. Me han cortado la cabeza y la han arrojado a la olla de fuego han roto todos mis huesos he dormido azul durante nueve meses han bebido mi sangre en copas de cristal frizado me han descuartizado y han vaciado las cuencas de mis ojos.

Kadiri J. She is also a poet, translator and editor of the multidisciplinary magazine Furman Her poems have been included in anthologies and other online magazines. Vicente Robalino, Ecuador. Muerto feliz junto a las flores resentidas que ya no responden al llamado del espejo. Milton Fernando Romero Obando, Ecuador. Writer, painter, and professor. International Consultant at St. Milton has participated in poetry festivals in USA and Ecuador. Asdrubal Hernandez Caracas, Publisher, writer and photographer. He has worked for several print and digital media in Venezuela and U.

On he founded Sudaquia Editores, a publishing house of books in Spanish for the U. He is a promoter of Latin American culture and literature, and loves to live in New York City with his wife, son and cat. Muchas risas, muchos gritos. La agarran, la rompen y su relleno reparten, mientras debajo de ella aqueos y troyanos por los juguetes se enfrenta.