Monday, January 24, 2011

Sprained Pinky Toe What Do I Do?

The effigy of General

predicted a cold weekend in the interior, but despite the threat, or perhaps because of it (sure that's harsh Mágina would deter more than one visit and could walk clear of its historic tourists), I decided it would be a good time to visit Ubeda. So there we planted on Saturday morning to find, as expected, its streets nearly deserted. Besides my interest because the children visiting the buildings that turned the city into a jewel of the Renaissance, I thought it would not hurt to stop by the renamed Plaza de Andalucía, Plaza Vieja once (or General Orduña in the imagination of Muñoz Molina) to, in line with the fashion dictated by the tedium of some politicians or the desire for stardom of some scholars, to show my children one of the exemplary citizen's civic duties: to claim historical memory. Although I imagine that the memory of such right mind does not stop bosses in the rehabilitation of military thought disaffected to his cause, because his is a selective memory. Whatever the case, the honorable Saro, eminent benefactor Úbeda, climbs again, displaying their heroic holes on the back of the martial soldiers, protected - the glory of the nation - under the wings of a cherub envelopes.

The general, who had been a member of Military Directorate was created in 1923 under the presidency of Miguel Primo de Rivera, was convicted and sentenced in 1932, after the advent of the Second Republic, for the crime of high treason. Amnesty two years later, ceases to active service and passed to the reserve status. Although no known involvement in the military rebellion, or in favor of the rebels, was shot in August 1936, in Madrid by Republican militiamen. However, in the mountains of La Loma some brainy chieftain of the anarchist militias considered insufficient warning and proceeded to stage a provincial bronze what others had accomplished before in the capital, and ordered the statue shot ... Who says that in the absence of the defendant, can not be shot by proxy?


- are dead, my son - said his father, solemn and educational - . Since they could not shoot the general Orduña, because he was dead, shot the statue, very stupid.

disorderly training came in blue overalls and sandals, with unbuttoned warriors on white shirts, military pants with a rope tied around his waist and militia hats and helmets askew and fallen on her neck. Carabiners old brought the war in Cuba and Mausers stolen in the assault on the Civil Guard barracks, and some, especially women, not other weapons waved their fists raised and their voices repeating a libertarian anthem. Someone shouted silence and better armed men lined up in front of the statue, breaking down in the face carabiners. Had fallen over the entire plaza and the crowd waited in silence as the arcades of execution. The first shot hit the general Orduña on the forehead, and boom drove away all the pigeons, who flew in terror to the eaves and strayed into the air every time it sounded a shock received by the crowd with a vast and only cry. When the guns fell silent, a man wearing a long hemp rope broke through the pack and threw a noose accurate to nine times pierced the head of the statue, claiming the support of others who are raw rifles and joined in his efforts to topple the statue of General. Tightens the noose, the noose closed around the torso rough opening, which had rumbled on receiving the bullet wound and a large bell, General Orduña rocked slowly, still not quite vertical and humiliated, and then swung and rolled at last sound of brass dragging its slow drop the marble pedestal collapsed in splinters on the flagstones of the square. Tightened the noose around the neck of the statue and dragged it bouncing over the cobblestones of the city to cast him down headlong into the precipice of the dunghill.

Antonio Muñoz Molina's Beatus Ille
Seix Barral. Barcelona.
1994 p. 56 and 57

crossed the square looking faces of survivors and dead ahead, avoiding the statue of General shot Orduña, who was on his military allegories canopy, air fresh from cadaver from the grave several days after the funeral, with an eye of empty bronze, pierced by a bullet, chest and neck pecked at by bullets and invincible gesture, head up towards the south, the embankments of the Cava and the distant blue mountains.

Antonio Muñoz Molina
The Polish Rider
Seix Barral. Barcelona. 2002 p. 130

Thursday, January 20, 2011

Milena Vuelva Big Boobs




I am in a square room, turned wood and bright, solid furniture old, with benches along the walls and, within it, framed ads that talk about fabric stores, dry cleaners or hairdressers. Observed that lack an ad, some unscrupulous start it has had its frame. The feeling is desazonante, because it is clear that, even if I wanted, I could never read all of the attractive advertisements of this room now slowly begins to rise into the air. I'm in the Santa Justa elevator, and I know what awaits me when you finish the climb. I will be in a big balcony with a splendid view of blue sky that surrounds the lower town, a view that does not reach all (in this case all the Baixa) because it is a partially obstructed by a metal grid that extends the balcony railing to a height that makes it impossible (and I think that for me) the suicides of those who, as is so common here in Lisbon, feel the temptation of jump.

Views from the viewpoint of Santa Luzia
But not jump into the void, friend Horatio. Let me invade any tendency to recover the child, all this nostalgia for a past that as I get closer to the viewpoint of Santa Luzia, I notice that I reconciling with the present, to the point that I have the impression of not being back in time, but almost eliminate it. I'll sit and wait, there will be a chair for me in this city, and she can see me every evening, quietly, practicing nostalgia, eyes on the horizon, waiting for death has already drawn in my eyes and that serious and quiet will wait as long as it takes, sitting at the infinite blue of Lisbon, knowing that death suits the light of severe sadness expected.

extracts Suicide copies of Enrique Vila-Matas

Tuesday, January 18, 2011

Free Zoophilia Channel

Saudade Black on White: Crucial

Anagram. Barcelona. 2003. P. 361. € 8

few months ago I had occasion to see Nostromo, TVE, the interview made by Ignacio Vidal-Folch Felix de Azua. He knew vaguely reference Catalan Castellet in his newest anthology Nine English poets, of which I have spoken on another occasion, but despite having read some articles from his personal blog, never had one of his books in my hands. So it seemed appropriate (the sting of corporatism: the degree and doctorate in philosophy), go to buy one of his novels. I chose at random, looking at the brief printed on the back cover, and I brought decisive moments. And the chance again to be generous because, just open the book, I find a symmetrical reflection I saw in many other The New York Trilogy Auster : In the life of every man, although I would argue that also in the life of every woman, there is often a turning point that turns the fate and future irreparable introduces a path for which we were not equipped. It usually appears suddenly, like a curve or a sudden twist that leads to failure or failure that we usually substitute hide the euphemism of "getting by" ... Azua's work is an inquiry into the character of those who, faced with their moment, they were unable to make a decision, prevented, perhaps, by the plot of conformity to the tradition had woven around their lives, or puzzled, perhaps, by the energy radiating from the changes that are implied in the horizon of Barcelona of 60. A book full of clever and sarcasm that is fine with levity scene deliberately effervescent characters that conjecture (panting and afraid some other) signs of a new era.

Monday, January 10, 2011

Miosotis Gained Weight

Biralbo Lisbon

April 25 Bridge from the Tower of Belém
Just as the fog to Lisbon and the Tagus river isolated from the world, making it not a but in a landscape of time, he perceived for the first time in his life the absolute insularity of their actions: it was becoming so alien to his own past and his future as the objects around him at night in the hotel room. Maybe it was in Lisbon where he met the reckless and hermetic happiness I found in it the first night I saw him perform at the Metropolitan. I remember something I once said that Lisbon was the homeland of his soul, the only possible country of those born abroad.

Rua Aurea and Praça de D. Pedro IV (Rossio)
had imagined a city as foggy as San Sebastian and Paris. He was surprised by the transparent air, the accuracy of pink and ocher facades of the houses, the unanimous red roofs, golden light static that lingers in the hills of the city with an effulgence of recent rain. From the window of his room at a hotel in dark hallways where everyone spoke in whispers, saw a square of identical balconies and the profile of a statue of a king on horseback strongly pointed to the south.

Tram in Alfama
Biralbo heard a familiar noise and creeping away as metal. A tram was approaching slowly, tall and yellow, swinging on the rails, between the blackened walls and slag dumps. Went up to him, did not understand what he explained the driver, but he did not care where you were. Far above the city, shone misty winter sun, but the landscape had crossed Biralbo greyness of evening rain. After a very long journey that seemed the car stopped in a place open to the estuary. Courts had deep and pediments crowned with marble statues and a staircase that was sinking in the water. On its pedestal with white elephants and angels trumpets rose bronze, a king whose name never knew Biralbo held the bridle of a horse sitting up with the serenity of a hero against the sea wind, smelling of rain and port.
José I equestrian statue at Praça do Comercio
was still daylight, but the lights began to dim light in the high wet porches. Biralbo crossed under an arch with allegories and shields and then was lost through the streets he was not sure he had visited before.

Arc between the Praça do Comercio and the Rua Augusta
ran again, but could not see his left, a darker side street, a staircase, a narrow tower higher than the roofs of houses, absurdly alone and was erected between them, with Gothic windows and iron ribs, ran a light and an open door where a man, a collector who had a waist a bag of coins and gave him a ticket.

Elevador de Santa Justa

"Fifteen shields," he said, pushed him inside, quietly closed a kind of rusty fence , turned a crank of copper and the place which still Biralbo had not looked began to shudder and creak like the timbers of a steamer, to get up, had a face on the other side of the fence, both hands clasped to her that the shaking, Malcolm, who was sinking into the subsoil, which Biralbo disappeared completely when not yet fully understood everything that was in an elevator and it was no longer necessary to keep running.




extracts Winter in Lisboa by Antonio Munoz Molina.