Corina Moscovich: 02.2013

24.2.13

Sobre “Contra el marasmo: resplandor eterno” (nota de PERFIL 16/02/13) (por Corina Moscovich)

Mi tío Abel me guardó el suplemento cultural de Perfil del último domingo (1). Me dijo: “habla sobre el panorama de la poesía argentina”. “Qué intriga” pensé. Habiéndolo leído más de una vez, intento aquí hacer una especie de resumen, o “pasada en limpio” sobre el mismo; además de por supuesto, agregar mi opinión personal sobre el tema.

Perfil (a través de Gonzalo Leon) indaga “sobre el estado actual de la poesía argentina” y consulta algunos poetas... Tras nombrar “la ausencia de voces como Néstor Perlongher, Zelarayán, Joaquín Giannuzzi, Leónidas Lamborghini y Héctor Viel Temperley” cita a “Cecilia Pavón, Fabián Casas, Fernanda Laguna, José Villa, Cucurto y Alejandro Rubio” como “autores en pleno desarrollo, de la generación de los 90”.

También Leon menciona a Tamara Kamenszain, Jorge Aulicino, Diana Bellessi y a Arturo Carrera y asegura: “las editoriales también se han multiplicado: hoy además de Vox (la editorial con el catálogo de poesía argentina más completo), están Gog y Magog, Stanton, Zindo & Gafuri, Determinado Rumor (digital) y las innumerables cartoneras; eso sin contar a las editoriales no especializadas en poesía pero que cuentan con interesantes títulos, como Alción, Mansalva y Bajo la Luna”.

Entre los poetas consultados, Daniel Freidemberg “desconoce cuál es el estado actual de la poesía argentina, básicamente porque “en realidad eso nunca se pudo determinar”. Por otro lado, Mariano Blatt “destaca la poesía reunida de los autores de los 90, pero también llama a estar atento a los nuevos nombres...”. Interesante la opinión femenina citada por Leon: Ana Porrúa centra (la continuidad de la que habla López) también dentro de una poesía femenina: “Aparecen una cantidad de poetas mujeres que exhiben un imaginario propio y buscan y consolidan una voz que no es, por otra parte, única”. “Veo, quizás, más dispersión, pero no menos producción”. Para Leon, el que “se atreve a caracterizar la producción actual de poesía” es Juan Desiderio: “A grandes rasgos, los hombres poetas mantienen un lenguaje inmerso en lo coloquial; las mujeres poetas apuntan a afinar con sus palabras, una poética más bien espiritual. Pero además he visto en estos últimos años una apuesta fuerte al recitado con bases musicales, en especial jazzeras y electrónicas”.

León inserta tres poemas con la foto de cada “joven” autor:

Poema de Martín Rodríguez:

Los trabajadores sociales son los psicólogos para los pobres./

La educación popular es la educación formal para los pobres./

Dice: los pobres no tienen inconsciente.//

Se les voló. Se les volaron las chapas./

Dice: los pobres no tienen representaciones./

¿Cómo se llama el que guía el estado de necesidad? Trabajador social/

¿Cuál es el árbol de problemas?/

Vos no conocés todos sus saberes,/

dice escrito con tiza blanca,/ debajo del árbol de problemas,/

en la pizarra negra del CIC.

Poema de Gabriel Cortiñas:

No se puede hacer harina con los cascos

asaron al enemigo pero se lo comieron crudo

el diente de oro les estalló en la panza

molieron dientes con paciencia, los picaron

hicieron tortilla: de maíz, de arroz,

tortilla de papa, tortilla de muela.

El brillo del diente empuja a romper

en la panza no digiere la luz

es un filo que abre el tímpano en cuatro.

Si la vanguardia no te cubre: el zumbido

la explosión. Todos esperan en las butacas

el comienzo del combate.

Se cierra sobre la lona como un capullo

(un capullo no estalla)

está prohibido llevar reloj.

Poema de Martín Gambarotta

(Acto I. Escena I. Rodríguez vestido de pionero.)

RODRIGUEZ: Madre, creo que soy un fascista y no temo serlo

pero quiero dejar de serlo o al entenderme fascista

y no sentir temor dejo de serlo, es una pregunta;

no hablo del lugar común de los que son fascistas

y no lo saben, no hay nada más fácil que decirse

no fascista; cuando veo un demócrata por tevé

quiero pegarle un tiro; tengo planes para todos

construcción de hospitales, regulación del alcohol

por parte del estado, una nueva gramática; estoy

del lado de la policía. ¿Conocés ese texto madre

donde P.P.P. se pone del lado de la policía cuando

reprimen a los estudiantes? Y también a veces dudo

hasta de ser fascista y tampoco temo ser otra cosa:

un quinto columnista, triple P portando la antorcha

con la que ha de incendiar babilonias o un cuadro

del partido republicano al que le ponen en su copa

la última aceituna del frasco para que sorba martini

en lo que fue el este.

Leon destaca poetas (Mario Arteca, Martín Gambarotta, Francisco Garamona, Gabriel Cortiñas, Arturo Carrera) que además de haber publicado en Argentina, también lo hicieron en otros países de Hispanoamérica. Concluye diciendo: “...la poesía argentina actual está más cerca de la superproducción que del marasmo.” A ver, la poesía argentina actual está más cerca de la superproducción que de una paralización o inmovilidad. Sí, pero falta considerar más variables en este panorama.

Como lectores interesados en la poesía argentina no podemos dejar de repetir esas palabras: “estado actual de la poesía argentina”. Quizás pensar en que estado remite a algo que no es permanente, en que lo actual nos debe llevar a un pasado mucho más lejano que la década del ´90. Para Leon, de la disputa entre “neobarroco (Perlongher, Kamenszain y el primer Carrera) y objetivismo (Giannuzzi, García Helder, Casas, Aulicino)” “va quedando muy poco”. “...existen diez veces más editoriales con proyectos sólidos que hace 15 años, y no sólo en Buenos Aires.” Acá hubiese estado bueno hacer un panorama, aunque sea somero, de los proyectos sólidos fuera de Buenos Aires ya que la idea es hablar sobre el panorama de la poesía argentina (Argentina=país de 23 provincias + C.A.B.A.). De todos modos, hacia el final de la nota Leon hace hincapié en que “los festivales internacionales de poesía, como el de Rosario y el de Córdoba, se siguen sucediendo.”

Como expresó Borges en la conferencia El enigma de la poesía: “todo el mundo sabe dónde encontrar la poesía. Y, cuando aparece, uno siente el roce de la poesía, ese especial estremecimiento.” Personalmente, el deseo es que los rótulos se apliquen con cuidado, sapiencia y delicadeza, en especial, cuando se habla de la poesía. Aquí, allá o donde sea.

Corina Moscovich

(1)-La nota original http://www.perfil.com/ediciones/2013/2/edicion_755/contenidos/noticia_0009.html

21.2.13

Festival Internacional de Poesía Grito de Mujer + PHENOMENAL WOMAN - Maya Angelou

Invitados:

Pilar Almagro Paz (Rosario), Marcela Armengod (Rosario), Ana Danich (Rosario), Celia Fontán (Rosario), Romina Funes (Bs As), Verónica Laurino (Rosario), Mariel Monente (Bs As), Corina Moscovich (Rosario), Vittoria e´Natto (Chile),Eugenio Previgliano (Rosario), Federico Rodriguez (Rosario), Armando Santillán (Rosario),

Sonia Scarabelli (Rosario), Socorro Soto (México), Ivana Szac (Bs As), Nerina Thomas (Rosario), Orlando Valdez (Rosario), Marcelo Valenti (Rosario).

Es la tercera edición que se organiza, en esta oportunidad contamos con poetas argentinos de Bs.As, Rosario y San Martín de los Andes y también con una poeta de Chile. Surge de la Rep. Dominicana, a partir de la poeta Jael Uribe. Es un festival internacional, hay distintas organizadoras en cada ciudad (en Rosario son Alejandra Méndez y Mariana Vacs).

El poema que leí antes de leer mis propios poemas...

PHENOMENAL WOMAN - Maya Angelou

Pretty women wonder where my secret lies / I'm not cute or built to suit a fashion model's size

But when I start to tell them / They think I'm telling lies.

I say, It's in the reach of my arms / The span of my hips, / The stride of my step, / The curl of my lips.

I'm a woman / Phenomenally. Phenomenal woman, / That's me.

I walk into a room / Just as cool as you please, / And to a man, / The fellows stand or / Fall down on their knees.

Then they swarm around me, / A hive of honey bees.

I say, It's the fire in my eyes / And the flash of my teeth, /The swing of my waist, /And the joy in my feet.

I'm a woman / Phenomenally. Phenomenal woman, / That's me.

Men themselves have wondered / What they see in me. / They try so much / But they can't touch

My inner mystery. / When I try to show them,

They say they still can't see.

I say It's in the arch of my back, /The sun of my smile, /The ride of my breasts, /The grace of my style.

I'm a woman / Phenomenally. Phenomenal woman, / That's me.

Now you understand / Just why my head's not bowed.

I don't shout or jump about / Or have to talk real loud.

When you see me passing / It ought to make you proud.

I say, It's in the click of my heels, /The bend of my hair, / The palm of my hand, / The need of my care,

'Cause I'm a woman / Phenomenally. Phenomenal woman, / That's me.

from And Still I Rise

Las mujeres hermosas se preguntan/ Dónde radica mi secreto.

No soy linda o nacida / Para vestir una talla de modelo

Mas cuando empiezo a decírlo / Todos piensan que miento

Y digo, Está en el largo de mis brazos, En el espacio de mis caderas, En la cadencia de mi paso, En la curva de mis labios.

Soy una mujer Fenomenalmente. Mujer fenomenal, Esa soy yo.

Ingreso a cualquier ambiente / Tan calma como a ti te gusta,

Y en cuanto al hombre / Los tipos se ponen de pie o / Caen de rodillas.

Luego revolotean a mi alrededor, / Una colmena de abejas melíferas.

Y digo, Es el fuego de mis ojos, Y el brillo de mis dientes, El movimiento de mi cadera, Y la alegría de mis pies.

Soy una mujer Fenomenalmente. Mujer fenomenal, Esa soy yo.

Los mismos hombres se preguntan / Que ven en mí./ Se esfuerzan mucho / Pero no pueden tocar

Mi misterio interior. / Cuando intento mostrarles / Dicen que no logran verlo

Y digo, Está en la curvatura de mi espalda, El sol de mi sonrisa, El porte de mis pechos, La gracia de mi estilo.

Soy una mujer Fenomenalmente. Mujer fenomenal, Esa soy yo.

Ahora comprendes/ Por qué mi cabeza no se inclina./ No grito ni ando a los saltos/ No tengo que hablar muy alto.

Cuando me veas pasar/ Deberías sentirte orgullosa.

Y digo, Está en el sonido de mis talones, La onda de mi cabello, La palma de mi mano, La necesidad de mi cariño,

Porque soy una mujer Fenomenalmente. Mujer fenomenal, Esa soy yo.

11.2.13

Golden Lane, Prague Castle

First, you can read

E6 http://corinamoscovich.blogspot.com.ar/2013/01/e6-praga-rep-checa.html

E7 http://corinamoscovich.blogspot.com.ar/2013/01/e7-cesky-krumlov-rep-checa.html

History of Golden Lane

The basis is an irregular strip of land varying in width from four to 8 metres between the older, Romanesque walls from the 12th century, and the later walls that form the north fortification of Prague Castle on the edge of natural ravine known as the Stag Moat. Work there was begun by the architect Benedikt Ried shortly after 1484, when King Vladislav Jagiellon decided to leave the Old Town and settle at the Castle.

Attached to the Castle wall (up to 320cm thick) were 3: The Powder Tower (or Mihulka) on the west side, the Dalibor Tower (Daliborka) on the east, and between them the White Tower. Between Daliborka and the White Tower, the castle wall on the moat side was buttressed by an arcade with 12 identical vaults each of which was about 120cm deep and 600 to 660cm wide. These half-build spaces were used as simple makeshift dwelling. The oldest written reports about them are from the 1560s, when the lane was called Goldsmith's Lane. Its residents were probably lesser goldsmiths who had fled the guild laws which were being strictly enforced in all 3 towns of Prague at the time (Old Town, New Town and Lesser Town).

No substantial repairs were carried out on the northern castle wall until 1591-94, during the reign of Rudolf II. At that time, the upper arcade structure rose to the level of today's Golden Lane. There were now 21 arches between the White Tower and Daliborka, each 400cm wide and 220cm deep on average. They were separated by pillars about a metre wide. Above them, a walled passage with a raftered ceiling was built. The earlier houses were undoubtedly torn down at that time, and their remnants vanished into the raised rampart of the moat.

In 1597 the "artillerymen at the gates of Prague Castle" asked Emperor Rudolf II for permission to build little rooms within the newly repaired walls. In a decree, dated 16th September 1597, Rudolf allowed them to be built. The "Red Artillerymen", as they were nicknamed because of the colour of their uniform, did not, however, receive the dwellings as gifts. They had them build at their own expense and also bought and sold them, first amongst themselves, and then with others who were not members of their corps. At first, these included various employees of the Castle (such as gatekeepers, guards, and bell-ringers) and later, people who did not live in Golden Lane but rented the little houses to others.

It was not long before the little houses began to expand into the lane with their additions and fireplaces. New additions were made also in the adjacent Romanesque wall and the wall of the Lord High Burgrave's residence. The street ultimately became so cramped that in some places it was less than a metre wide. Soon afterwards, in the slum clearance of 1864, all those extensions, stalls, and wooden sheds that had stood on the opposite side of the lane were demolished, and only the little houses along the north wall were left standing.

In 1953 the Office of the President of the Czechoslovak Republic bought all the houses from their owners. The overall arrangement of Golden Lane was completed in 1955 under the direction of the archited Pavel Janák. The last general reconstruction of Golden Lane was carried out in 2010-2011 when a new drainage system was build and the paving was renewed. The tiny houses were underpined and repaired. Many valuable elements were also restored. All of the colour facades designed by painted animator Jiøí Trnka were renewed.

Residents

Right up to the departure of the last tenant in 1952, the community in Golden Lane was very colourful. At first, it included various employees of the Castle (such as gatekeepers, guards, and bellringers) and, later, people who did not live in Golden Lane but let the little houses to others.

The conditions for basic hygiene remained very backward. In the 18th century there was only one privy for all the houses and only in the 19th century was a second installed. Water pipes were laid here eventually in 1877, and the house at Number 24 Golden Lane had none until 1942. The names in the land records that have been preserved are for the most part those of people about whom we know nothing. And yet some of the houses did in fact have famous owners or tenants over the years.

House Number 6 used to stand near the Office of the Lord High Burgrave, and its roof was as high as the pavement in Golden Lane. In the 1960s it was demolished during alterations to this part of the Prague Castle. Shortly before World War II it was the home of the poet Jaroslav Seifert, and was where he wrote his collections of verse "Eight days" and "Clad in light".

House Number 12 was, in the late 1930s, the temporary home of dramatist and writer of prose fiction Jiøí Maøánek. In the romantic atmosphere of the lane and in everyday contact with the past, he found inspiration for his writing, particularly for his historical novels and short stories. Now in this house is Comedia Film.

House Number 14 Little house of the psychic Matylda Prùšová (1º half of the 20^th century). In this house, before the Second World War lived the proclaimed Prague card reader and fortune teller “Madame de Thebes”. This widow of a pharmacist whose real name was Matylda Prùšová, was drawing attention from afar with her black clothing and old fashioned hat adorned with ostrich feathers. Since 1914, she has waited in vain for the return of her son from the First World War. Daily she laid a table and prepared a bed for him. Into her cozy room, stuffed with bizarre objects (an owl, a crystal ball, etc) customers arrived daily, desirous to look into their future. Matylda´s clientele reached beyond the seas-letters for her, came for example, all the way from Cape Town. Because of her frequent predictions about an early end to the war and the fall of the Third Reich, she was arrested by the Gestapo and eventually tortured to death.

House Number 22 was the home of Franz Kafka in 1916 and 1917, who rented it from his sister. Far from the bustling centre of Prague, in Golden Lane, he could devote himself to his writing and it is here that he wrote “The country doctor”. Another tenant of the house, this time from the beginning of World War Second, was the owner of the superb Aventinum publishing house, Otakar Štorch - Marien. He was often visited in his cramped quarters by his close friends, including the renowned illustrator Jiøí Trnka, the great poet Vítìzslav Nezval, and the avant-garde photographer Jaromír Funke.

House Nº 24 Mrs. Magdalena (1º Republic). At the beginning of the 20^th century, residents of G. Lane were already well aware that their little houses had a unique charm. As admiration by society for monuments and Old Prague grew, G. Lane became famous. To increase the attractiveness of their homes for an ever-growing number of tourists and history lovers, the owners began to spontaneously reconstruct their houses. Cozy rooms began to change into rooms with wooden floors and tiled stoves to appear nobility-like. Furniture in various styles was added, and the windows were dressed with net curtains. The walls were painted with bright, beguiling colours and the owners used stencils, hung patriotic colour prints, family photos and home embroidery. They began to vie with each other in their over-decorated rooms, which in many cases were not occupied by them any longer. From their more comfortable apartments in Prague, they came daily to the lane, opened the houses up to the visitors who, as with Mrs. Magdalena ´s House, paid a few coins for the chance to look around them. The most enterprising owners even rented their houses to artists or writers who were looking for inspiration for their work.

Para dejar un comentario: cliqueá en “comentarios”, saldrá una ventana donde escribir y justo debajo, la forma en que quieras identificarte (Google; anónimo; nombre/URL). Las traducciones a otros idiomas son bienvenidas. Por favor contactáme a corinamoscovich@gmail.com

To leave your comment clik on “comentarios”, you will see a pop up window where you can write it. Just below, you decide how you want to identify (Google; anónimo; nombre/URL). Translations to other languages are welcomed. Please contact me to corinamoscovich@gmail.com

4.2.13

¿Qué es Couchsurfing?(por Corina Moscovich)

Couchsurfing was a key element in my last trip. I could do it because since the beginning I knew I would trust in the good faith from Couchsurfers. I only have words of thankfulness. I always think back of each and every person (and place) I met. Yes, to me Couchsurfing is all about people and places.

It is crazy how Couchsurfing works. Can “regular” people understand it?

When flying back home, next to me, there was Jonathan, a French guy travelling to Argentina. At the beginning of the conversation he said:

“Do you know CS?” “Yes, of course I do”, I replied with a smile.

I am glad to help old, new and future Couchsurfers. Couchsurfing is all about being good people. Treat others the way you want to be treated. I always suggest CS to do it “both ways”. If you are more of a Couchsurfing host, please host, at least once. To couch surf is like putting a mirror to your own life, culture, place and customs.

Be careful! You run the risk of liking someone or somewhere more than you should.

You run the risk of opening up and talk about things you never imagined yourself talking to a “stranger”. Couchsurfing is about basic stuff for travelers: a bed, a shower, maybe some food, maybe Wi Fi. It´s an “I will show you around”. It´s a “go this way” or “don´t miss this place”.

“Couchsurfing” as a word is not enough. How can I forget the help, the company, the good advices, the long talks, walks, drinks and /or food that I shared?

Are there crazy people in Couchsurfing? Yes, of course there are. The “good” crazy ones and some “freaky” ones too. But, my “average” of experiences is still positive. I have to say that in my last trip, in the hurry of getting to a new city, I “had” some communication mistakes. Even by having great references or a lot of Couchsurfing friends, you can still make mistakes.

I am writing this because I want to spread the word. ¡Gracias! Köszi! Grazie! Danke! Obrigada! Hvala! Merci! Thank you!

Corina Moscovich

You can read about my trip in my BLOG. Here are the links:

E1 http://corinamoscovich.blogspot.com.ar/2012/12/ba.html

E2 http://corinamoscovich.blogspot.com.ar/2012/12/e2.html

E3 http://corinamoscovich.blogspot.com.ar/2012/12/e3-bruselas-belgica.html

E4 http://corinamoscovich.blogspot.com.ar/2012/12/e4-lux.html

E5 http://corinamoscovich.blogspot.com.ar/2012/12/e5.html

E6 http://corinamoscovich.blogspot.com.ar/2013/01/e6-praga-rep-checa.html

E7 http://corinamoscovich.blogspot.com.ar/2013/01/e7-cesky-krumlov-rep-checa.html

E8 http://corinamoscovich.blogspot.com.ar/2013/01/e-8-viena-austria.html

E9 http://corinamoscovich.blogspot.com.ar/2013/01/e9-gyor-hungria.html