By Jaime Sabines
Los angeles Biblioteca Jaime Sabines pone al alcance de los lectores l. a. obra completa, en cuatro volúmenes, de uno de los más admirados poetas contemporáneos de México. En esta edición, revisada y contrastada con los documentos originales del poeta, se reúnen Adán y Eva (1952) (su primera incursión en los angeles poesía en prosa), Tarumba (1956) y Diario semanario y poemas en prosa (1961), que lo confirmaron como uno de los grandes creadores de l. a. literatura hispanoamericana.
«Un Baudelaire contemporáneo» Donald F. Fogelquist
«Uno de los poetas fundamentales, no sólo de México sino de Hispanoamérica y los angeles lengua castellana» Mario Benedetti
«Uno de los mejores poetas contemporáneos de nuestra lengua. Muy pronto desde su primer libro, encontró su voz. Una voz inconfundible» Octavio Paz
«El gran inconforme, el dueño de una rebelión auténtica» Carlos Monsiváis
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Additional resources for Adán y Eva / Tarumba / Diario semanario y poemas
Sample text
Behind an inscription, my dear sir, there is also an entire people! But behind any of these poems there is nothing but a whim. So then, who will guarantee for us that the same ex pression does not change its meaning radically from one instance to the next? In the separate compositions, or in the very same composition there is, I beg you to observe, not one word which is repeated twice throughout all three poems. ” “ I beg your pardon, I beg your pardon,” the great critic shouted, beside himself, “it is just because of this that the problem is quickly resolved.
By its very nature, a result can be evaluated only in terms of the means employed. Except with God, absolute results do not exist, and the very concept of a result is a relative concept. Results range along an infinite ideal scale, though inside the limits of a single moral value. But let us not digress. ” A tomblike silence had fallen in the office of the great critic. Letting his eyes stare into the void, he pretended not to have heard my question. ’ “ I have only one poem with me,” faltered Y.
You can’t get out of it that easily. Now you’re in danger of relying on a sophism yourself. You are taking it for granted that what is involved is a work of art. But this is precisely what has to be examined: where and what are the criteria you use for your evaluation? Let me sum up my preceding argument. When I said that an inscription has behind it and implies a complex of norms, I meant also that certain of its purely linguistic data are enforced and supported by a knowledge which is not exclusively linguistic: I refer to ethnic knowledge.
