beeps Luis Vidales (1926) is a text with literary value. Since the beginning of the twentieth century when it was your first impression " have generated various reactions and influences in the Colombian and Latin American narrative.
The historic moment came up to the first postwar years. The country was involved in socio-economic changes while in the rest of the avant-garde world beat into their own front lines. Colombia was no exception. So did the writer know Bogotá Luis Tejada, who then proclaimed title of "poet" to the young Vidal. Also, Vicente Huidobro, Jorge Luis Borges and Alberto Hidalgo texts included in his anthology called Index New American Poetry (1926), which was the only Colombian poet Luis Vidales. In 1976 he published a second book. And they would again in 1986. Now, in 2011, the question arises: what is the importance of beeps in American poetry?
Perhaps the unprecedented emergence of a world derived from the urban environment. The title itself suggests a sensitive area where music is essential. The timbre is a property of music and, as pointed Manuel Valls Gorina in the book to understand the music : "Every sound carries itself a kind of complementary sounds bargain, we do not distinguish separately, but together they give their stamp or color. "
The bell can differentiate between various sounds, for example between the clarinet, guitar, trumpet, piano, etc.. This peculiarity of the music is comparable to everyday objects or instruments. I mean the sound of the wind, the stridency febrile, transit wheels, rain, in short, many suggestions auditory stimuli. Like when we read: "The piano / growling stuck in a corner / shows teeth / to those who pass by ". (P. 92.)
some extent the music takes shape in vivid color. So in verse of the poem entitled "Burial" : "The bells will want to fall over / English as hats." Or in The Noise: "Noise / You vagáis crazy / looking for a way / but like I / you could not find / Noise" . (P. 69)
is also the sound of silence or mystery deafness. Perhaps the recognition of the hidden life of things, the hidden movement that yearns for expression of being, overcoming the natural and physical resistance. Remember the verse of Charles Baudelaire, suggesting that the poet is the man who "understands effortlessly and without a doubt / the mysterious language of flowers and silent things."
Perhaps poetry is the result of a series of questions that arise daily. Hence the constant concerns of the poetic voice, for example: "why the same show every day since you gave the world rope?. / Mr. / Let now / turn the world upside down / so that the mornings are in the evenings. "(p. 108.)
The above excerpt belongs to Luis Vidales poem entitled" Prayer of the yawning dedicated to Leo Le Gris-yawner. " As in León de Greiff, in beeps clearly an "urban poetry" so called worlds unpublished poured on Colombian literature of the early twentieth century a new wind, a voice that goes beyond of crying fools of tradition and nineteenth-century manners.
The work mentioned was able to break the conceptual and technical framework of our narrative. Besides being studied within the poetic genre is also considered a precursor to the mini-fiction in Colombia. For example the series of stories titled importunate. Especially the issues (The universe of the antipodes, the world of other-self, the shadow) so far had not been approached with such brevity.
For example, in the story The Antipodes, a character to support this theory the horror of his listeners : "You can stand on their feet, discourse, yawn, think, succeed or be defeated in direct-or reverse-what happens to its antipode ." (P. 50.)
remember that the antipodes are absolute opposites. Anti: contrast, antagonist. Pruning: standing. Antipode, which is contrary to my feet. On the other side of the ball, say Vidales. In this regard, F. Nietzsche would say that Kant was the antipode of Goethe.
On the other hand, the book is evident cheerful and optimistic vision, perhaps without resentment. But with an almost childish joy, as one does a self-caricature. With great irony, when we read, "Let's put names to things, because, but, how do we deny" . (P. 197.) Or perhaps in these words: "A Zeus, the charge to punish men by disaster, he shattered his temple again Arziani a violent earthquake. Please note the incident. " (p. 189.) O is the paradox: " Sometimes you have a panic fear at the sound of silence . "(P. 197). And humor black: "The funeral was in charge of reminding us in time, we're a good vile" . (P. 193.)
Perhaps the importance of beeps is the predominance of nominal and idiographic on the adjective. The triumph of the dynamics on the static. And with that, the aesthetic value of the word, language, Logos. However, goes beyond the avoidance, as their intentions are pursuing a revolutionary attitude and expressive and communicative. In addition, his legacy is reborn in the vitality of the aphorism of brevity, so close and the maximum sentence. In that sense, deep resounds with words reminiscent of Emile Cioran: " Laughing is the only excuse of life, the great excuse of life, laughter is a manifestation nihilistic." Perhaps that is the relevance and timeliness of the book of Luis Vidales.
VIDALES, Luis. Bells ring. Colombian Culture selection. Plaza y Janes Editores. 1986. Bogotá, Colombia. 189 pages.
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