Saturday, January 29, 2011
Headache And Red Mark On Forehead
Between boredom and a clandestine love (Denes, Valencia, 2010)
Prometheus The Valencian editorial published Between boredom and clandestine love in 1979. At that time the author had already bringing out three books of poetry: Pedregal (1970), Erosion (1971) and final stupor (1977). The reissue of this novel so unique, thirty years after its first publication, gives the modern reader the privilege to go to one of the more obscure and interesting texts of Caesar Simon. Curiously, the fate of the shared-print book today-with another of his strange proposals narrative Siciliana (Mistral, Valencia, 1989). His second novel, perhaps the most conventionally set to the generic term was The Secret Life (1994). Subsequently their approaches to narrative would run on territories closer to the intimate prose, journal writing and autobiographical fiction titles such as Dog hanged (1997) and On behalf of all (1998). The
Simon writing his first foray into the narrative level could qualify as 'anecdotal' or, recalling the thoughts of Carlos Marzal around Sicily, also could apply to your proposal narrative the concept of 'fad', as "a way definition that defines nothing. " Before reaching that conclusion, pointing Marzal various types of speeches that could be ascribed to the work, which, however, are orphaned after the proposal Simonian as "not a diary, but the pages are arranged by [... ] is not a novel, although part of what some have called lyrical novel, nor is a story, but has a thin story line, not a philosophical essay, and yet there is a clear vocation meditation throughout the book, it is not poetry, and its intensity is identical to that of the best poems are not poems prose, because your breathing is too close to the narrative. " So, what will be obvious to the reader who comes to this site here is the classic narrative parameters which should include a novel use has been abolished. Have blurred the lines that guide the reader in a relatively easy, requiring an approach that is in constant alert and also be willing to interpret multiple views, kaleidoscopic and simultaneous that convention that we call 'world' or 'reality'. Thus we looked vertigo almost a novel in which both building strategies such as reading initial trust need a sustained, active and associate the other side of the text, across the world that is fiction. Thus there can be no closure, no border or boundary. In the area of \u200b\u200bthis boundary blurring and precarious, not without provocation, which enters the narrative Simonian is precisely where unavoidable establishing links between his prose and poetry. All Simon's writing moves, poured out, spilled beyond any limit discursive absorbing the reader into sustained action that gives unity to a puzzle that is built from fragments (read also works) independent. Little in his writing seems left to chance and we should rather speak of a solid structure where the disappearance of one of its pillars would probably result in a landslide, as the undercurrent that links with the lyrical prose, as evidence may Simonian checked through the text we now offer the inter-formal and thematic compactness are two essential features of the aesthetic of the Valencian writer.
Regarding the previous mentioned anecdotal prose of Caesar, Simon, is necessary to show that the choice of the term is based, although not necessarily coincide, in the original proposal of the author who, at first, met narrative texts under the heading An air inside the world (story). The original title was replaced by a resonance Cernuda, but was not the only change that came under this novel. In fact, some missing fragments initially included, as is the case of "Interior of a sphere ',' Pond ',' Run for work, "" Attack of consciousness "and" The sunshine in the background "- while others were built later, especially" Your personal profile, "" Sanctuary, "" Conversation in the top 'and' Dark City '-. In this process also were obviated rewrite three of the five initial appointments, so that was disjoined from the final draft of words, which had been placed as a porch, Luis Cernuda, Nemer Ibn El Baroud and Vicente Aleixandre. Taking advantage of these brief indications of the issues relating to the outcome of the production and publication of the work, and not to neglect the essential criterion philological say that, precisely be facing a reprint and not of a critical edition, we have not seen fit to collect textual variants seen on the original typescript with handwritten corrections by the author.
Finally, thank Vicent Berenguer his passion for this (and all) works of César Simón, because without his perseverance today would not light these magnificent and delicate prose. Maybe he would not have returned the undersigned these lines with so much attention on them, so consider it equally necessary to join this public recognition. In this sense, we do not want to end this brief prologue without remembering that the new edition of the text is an essential step for the recovery of one of the most unique voices of English literature of the late twentieth century. Therefore we are convinced to share the joy that presents this issue as it allows both new readers and openly enjoy a verb Simonian accurate, neat and content, of the delicious fusion between landscape and consciousness to inhabit ; of the continuing celebration of the existence of striking originality marked by the prospect of a "natural philosopher" whose sensitivity, as Simon himself points out in his portrayal of Juan Gil-Albert, was of a speculative writer, universalizing and metaphysical. Enjoy.
[Pozo Begonya Foreword to the edition published by Denes in October 2010] 
Prometheus The Valencian editorial published Between boredom and clandestine love in 1979. At that time the author had already bringing out three books of poetry: Pedregal (1970), Erosion (1971) and final stupor (1977). The reissue of this novel so unique, thirty years after its first publication, gives the modern reader the privilege to go to one of the more obscure and interesting texts of Caesar Simon. Curiously, the fate of the shared-print book today-with another of his strange proposals narrative Siciliana (Mistral, Valencia, 1989). His second novel, perhaps the most conventionally set to the generic term was The Secret Life (1994). Subsequently their approaches to narrative would run on territories closer to the intimate prose, journal writing and autobiographical fiction titles such as Dog hanged (1997) and On behalf of all (1998). The
Simon writing his first foray into the narrative level could qualify as 'anecdotal' or, recalling the thoughts of Carlos Marzal around Sicily, also could apply to your proposal narrative the concept of 'fad', as "a way definition that defines nothing. " Before reaching that conclusion, pointing Marzal various types of speeches that could be ascribed to the work, which, however, are orphaned after the proposal Simonian as "not a diary, but the pages are arranged by [... ] is not a novel, although part of what some have called lyrical novel, nor is a story, but has a thin story line, not a philosophical essay, and yet there is a clear vocation meditation throughout the book, it is not poetry, and its intensity is identical to that of the best poems are not poems prose, because your breathing is too close to the narrative. " So, what will be obvious to the reader who comes to this site here is the classic narrative parameters which should include a novel use has been abolished. Have blurred the lines that guide the reader in a relatively easy, requiring an approach that is in constant alert and also be willing to interpret multiple views, kaleidoscopic and simultaneous that convention that we call 'world' or 'reality'. Thus we looked vertigo almost a novel in which both building strategies such as reading initial trust need a sustained, active and associate the other side of the text, across the world that is fiction. Thus there can be no closure, no border or boundary. In the area of \u200b\u200bthis boundary blurring and precarious, not without provocation, which enters the narrative Simonian is precisely where unavoidable establishing links between his prose and poetry. All Simon's writing moves, poured out, spilled beyond any limit discursive absorbing the reader into sustained action that gives unity to a puzzle that is built from fragments (read also works) independent. Little in his writing seems left to chance and we should rather speak of a solid structure where the disappearance of one of its pillars would probably result in a landslide, as the undercurrent that links with the lyrical prose, as evidence may Simonian checked through the text we now offer the inter-formal and thematic compactness are two essential features of the aesthetic of the Valencian writer.
Regarding the previous mentioned anecdotal prose of Caesar, Simon, is necessary to show that the choice of the term is based, although not necessarily coincide, in the original proposal of the author who, at first, met narrative texts under the heading An air inside the world (story). The original title was replaced by a resonance Cernuda, but was not the only change that came under this novel. In fact, some missing fragments initially included, as is the case of "Interior of a sphere ',' Pond ',' Run for work, "" Attack of consciousness "and" The sunshine in the background "- while others were built later, especially" Your personal profile, "" Sanctuary, "" Conversation in the top 'and' Dark City '-. In this process also were obviated rewrite three of the five initial appointments, so that was disjoined from the final draft of words, which had been placed as a porch, Luis Cernuda, Nemer Ibn El Baroud and Vicente Aleixandre. Taking advantage of these brief indications of the issues relating to the outcome of the production and publication of the work, and not to neglect the essential criterion philological say that, precisely be facing a reprint and not of a critical edition, we have not seen fit to collect textual variants seen on the original typescript with handwritten corrections by the author.
Finally, thank Vicent Berenguer his passion for this (and all) works of César Simón, because without his perseverance today would not light these magnificent and delicate prose. Maybe he would not have returned the undersigned these lines with so much attention on them, so consider it equally necessary to join this public recognition. In this sense, we do not want to end this brief prologue without remembering that the new edition of the text is an essential step for the recovery of one of the most unique voices of English literature of the late twentieth century. Therefore we are convinced to share the joy that presents this issue as it allows both new readers and openly enjoy a verb Simonian accurate, neat and content, of the delicious fusion between landscape and consciousness to inhabit ; of the continuing celebration of the existence of striking originality marked by the prospect of a "natural philosopher" whose sensitivity, as Simon himself points out in his portrayal of Juan Gil-Albert, was of a speculative writer, universalizing and metaphysical. Enjoy.
[Pozo Begonya Foreword to the edition published by Denes in October 2010]
Friday, January 28, 2011
Wednesday, January 26, 2011
Tuesday, January 25, 2011
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