As promised on Saturday, I found my review academic books Evodio. Here it is:
Escalante, Evodio. José Gorostiza: Between Redemption and catastrophe. Mexico: Juan
Pablos / Universidad Juárez Autónoma de Tabasco / Municipal Institute of Art and the Culture of Durango / Universidad Nacional Autonoma de Mexico, 2001. 317 pp. ISBN 970-713-000-8
Escalante, Evodio. Lift and drop estridentismo. The Centennial Collection . Mexico:
National Council for Culture and Arts / Ediciones Sin Nombre, 2002. 119 pp. ISBN 970-18-8138-9
Escalante, Evodio. The lost art: the poetic in the work of Enrique
González Rojo, Eduardo Lizalde and Marco Antonio Montes de Oca. Series Study. Mexico: Universidad Nacional Autonoma de Mexico, 2003. 116 pp. ISBN 970-32-0910-6
Despite copious poetic production that takes place in Mexico, gender criticism has not always kept pace. Beyond the omnipresence of the figure of Octavio Paz and the constant recognition Contemporary group, one could hardly say that there is a rigorous study constant of the various currents and the wide variety of poets who flourished in the country throughout the twentieth century. Moreover, it seems that poetry in the first half of the century is encased in a series of platitudes (debates between nationalism and cosmopolitanism, the centrality of the "group without group" Peace, etc..) That are difficult to assess from a socio-historical and critical perspective. In this way, religious, or Xavier and José Gorostiza Villaurrutia are the subject of canonization as constant while the poetic figures lack a coherent critical corpus. Within this scenario, the three recent works Evodio Escalante - José Gorostiza: Between redemption and catastrophe, lift and fall of estridentismo and lost- Vanguard are, overall, one of the most significant contributions to the study of Mexican poetry and avant-garde movements in the last twenty years.
is not at all strange that Escalante is developing this company so successful. After all, this is one of the most important and challenging critics of Mexican literature. Do not forget that he is responsible for the still unbeaten first book about José Revueltas, José Revueltas : A literature moridor side as well as some of the most provocative and rigorous readings of authors such as Alfonso Reyes, Juan Rulfo and José Agustín (collected in books such as Hunter foam or critical metaphors ). He has also participated in some of the central debates on the issue of criticism in Mexico. The virtues of Escalante's work are several: the political reading, the social and historical rigor, the relentless questioning the commonplace. And in the three volumes reviewed here, we find Escalante perhaps one of the highest points of their work.
José Gorostiza: Between redemption and catastrophe , Escalante doctoral thesis revisits Muerte sin fin, an obsession over literary criticism in Mexico. Although the poem has had many illustrious critics (William Sheridan, Pedro Angel Palou, Salvador Elizondo, José Emilio Pacheco, Oscar Wong, to name a few notables), this book offers undoubtedly the most extensive and comprehensive reading of text. As has become his style, Escalante tracks Gorostiza intellectual sources: Kant, Eliot, Pound, etc. And this is where we find one of the most interesting thesis: the intellectual relationship between Gorostiza and intellectual project José Vasconcelos (particularly the one developed in a very short read Aesthetic Philosophy). The relevance of this thesis lies in its ability to demolish a myth (the idea of \u200b\u200ba poet Gorostiza "Europeanized" in completely antagonistic relationship with the revolutionary nationalism) and a question (how to explain consistently nationalist references and traditional poetry in a poem so dense and philosophical). Reading the poem itself is quite simply stunning. Escalante develops a conceptual apparatus to understand the text and its philosophy, apparatus comprising categories ranging from the sociohistorical to the philosophical and theological. Thus, in light of the aesthetic vasconceliana, Escalante reading reconciles two fundamental perspectives for reading endless Death. On the one hand, we find the idea of \u200b\u200ba poetic rhythm that "to break the language, to destroy their own impassive integuments and sprout covered an aesthetic form in the consciousness of the poet, can not direct its action towards the transcendent" (149). On the other, a romantic vocation to the Volkgeist leading to a "device bivocal which establishes a kind of" internal dialogue "between the voice of the great singing teacher or the popular voice that comes, as a counterpart, the scherzi "(127). With this, Escalante raises more complete reading of the date of one of the most secretive and central texts of Latin American poetry.
rise and fall of Stridentism , meanwhile, is an effort to revalue estridentista movement, which, in the work of eminent critics as Paz, Monsivais and José Joaquín Blanco, has been characterized as fleeting and of little importance. Escalante refutes this argument by claiming that these readings are the result of the consecration of the Contemporary as a mark of aesthetic taste in poetry, which has resulted in a bias anti-revolutionary vocation estridentismo modern. Taking work as partners Luis Mario Schneider and Katharina Niemeyer, Escalante movimiento.Primero two-dimensional studies, takes a reading of the poetry of Manuel Maples Arce, and without fail to recognize "moments of fracture" (62), seeks to relocate Urbe to the poem as it is carried out for the first time the movement of the poetic subject of subjectivity modernist urban experience. Escalante recognized in this process four movements: the transformation of the archaic poet in modern poet from the experience of the disaster, the ability to "combine a multitude of flat space-time" as a condition of possibility of the modern poem and the passage of the subject archaic to modern subject as a sacrifice libidinal giving rise to the collective, the sabotage caused by the gravitational pull of the dead in the process within the economy of the poem (54). From these four keys, Escalante discusses what is probably one of the most innovative and underrated Mexican poetry. The second part is devoted to three milestones of prose estridentista ( Coffee anyone Arqueles of Vela, Panchito Chapopote of Xavier Icaza and estridentista movement of Arzubide List Germain). The inclusion of the second text, in itself, is an important contribution of the volume. Following John Brushwood, who also considered the text of the movement Icaza, Escalante achieved with this shift to emphasize the social vocation (ist) movement and build a network in which we simultaneously appreciate the political commitment of estridentismo (with Icaza) his pioneering (with Vela as the founder of modern prose in Mexico) and sui generis work (with the experimentalism of Arzubide List).
Finally, The lost art focuses on the work of three poets (Eduardo Lizalde, Marco Antonio Montes de Oca and Enrique González Rojo, son) and their relationship to the poetic movement. The poeticism, Escalante informs us, "intended to renovate from the ground up procedures poetic creation, establishing sound complicated schemes that serve to create images and metaphors of enormous originality" (9). Even though the book does not study thoroughly all the poets associated with the group (figures as Rosa Maria Phillips and Arturo Gonzalez Cosio remain mere mentions), this is the first work that deals exclusively with this movement and, above all and its importance in the history of Mexican poetry. The poetry is a movement rather obscured by the critical memory, something which undoubtedly contributed fact that one of its most prominent members (Eduardo Lizalde) renounce it and consider it a kind of historical error. Escalante Evodio rescues the movement once again resorting to the socio-historical situation, demonstrating convincingly the relationship between the ambitious project of this vanguard scriptural and the need for a new literary writing in the context of social and political movements that occurred during the German presidency of Miguel (1946-1952). Escalante analyzes the ideological and philosophical bases of this cutting-edge analysis that is contained in two formulas: the combination of Góngora with Marx and the origin for the first time in Mexico of a " hiperescritura . Namely: a script that writes its own Gibberish "(12). From this standpoint as counter to a literary tradition that considered over the claim of poeticism, Escalante examines three of the most important poems of the movement. imaginary dimension of Enrique González Rojo (who, incidentally, is the grandson of Enrique González Martínez, the modernist poet "Wring the Swan", son of Enrique González Rojo, a member of Contemporary) is defined by the Escalante a rewrite of Polyphemus Gongora from the figure of Tom Thumb and studied as "an odyssey of Knowledge" whose role in Mexican poetry is to be the critical refutation of surrealism. Everything is Babel Eduardo Lizalde, which he considers "a masterpiece of conceptual poetry" (62), is regarded as a kind of "intellectual manifesto" where the poet has a messianic role through the search "true word" function that is a clear affiliation Escalante Hegelian. Finally, the infamous Wreck Babylon Marco Antonio Montes de Oca, along with other poems of this prolific and misunderstood author, allow Escalante regain momentum vocation romantic revolutionary poetic aesthetic.
These three books, required reading for any specialist in Mexican literature, are the sum of both the roads that we have yet to open in the study of Mexican poetry as a demonstration of the validity and explanatory power Marxist literary theory when applied with respect to socio-historical context and giving priority to reading about the dogma. Escalante is a critical issue and not only hope that his pen continue to illuminate the ways of Mexican literature.
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