Una Antología heterodoxa
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La editorial Fondo de Cultura Económica hace no mucho saco un proyecto novedoso denominado: 2 en fondo. Según reza una de las solapas del libro el objetivo es: estimular la reflexión pública sobre asuntos de interés general en los albores del siglo XXI, el cual será conducted by specialized characters in literature, music, art, science and history, and that already have a first-rate intellectual work.
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La editorial Fondo de Cultura Económica hace no mucho saco un proyecto novedoso denominado: 2 en fondo. Según reza una de las solapas del libro el objetivo es: estimular la reflexión pública sobre asuntos de interés general en los albores del siglo XXI, el cual será conducted by specialized characters in literature, music, art, science and history, and that already have a first-rate intellectual work.
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is worth mentioning that this project stems from a conversation involving several friends and here Volpi notes that the Mexican literary map are few places where writers and critics can meet to discuss books, exchange ideas or write trials with both hands, As a result the author will not land (Alfaguara 2006), invited a group of authors to discuss topics ranging from politics to literature while over other areas such as history and art. An interesting exercise which will be released gradually by this publisher. And not me, says Ruben Gallo in the presentation of the book: Heterodox Mexican dialogued anthology. In this odd anthology Gallo, written by Ignacio Padilla.
is worth mentioning that this project stems from a conversation involving several friends and here Volpi notes that the Mexican literary map are few places where writers and critics can meet to discuss books, exchange ideas or write trials with both hands, As a result the author will not land (Alfaguara 2006), invited a group of authors to discuss topics ranging from politics to literature while over other areas such as history and art. An interesting exercise which will be released gradually by this publisher. And not me, says Ruben Gallo in the presentation of the book: Heterodox Mexican dialogued anthology. In this odd anthology Gallo, written by Ignacio Padilla.
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In this book we see, without a doubt, the hallmark of the Crack Generation , do something serious mischief and vice versa, to what they have dubbed as a joke seriously. On this tour the two authors talk about their literary passions in a very entertaining, are the author of the hand and invite to jump on a crackiana. It's a joke that stands as a tribute to their ancestors at the same time is a monument to ego.
In this book we see, without a doubt, the hallmark of the Crack Generation , do something serious mischief and vice versa, to what they have dubbed as a joke seriously. On this tour the two authors talk about their literary passions in a very entertaining, are the author of the hand and invite to jump on a crackiana. It's a joke that stands as a tribute to their ancestors at the same time is a monument to ego.
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who approaches this book you can read texts in a playful little known or unknown to most, and recognized texts of writers in our literature and which are strangely surprising, surprisingly strange. Padilla and the idea is that the reader Gallo break with the classical perception of us here can be anthologized, but at the same time they reflect on the past, present, and perhaps even the future of our literature.
who approaches this book you can read texts in a playful little known or unknown to most, and recognized texts of writers in our literature and which are strangely surprising, surprisingly strange. Padilla and the idea is that the reader Gallo break with the classical perception of us here can be anthologized, but at the same time they reflect on the past, present, and perhaps even the future of our literature.
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anthologized authors and texts are:
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One: Martin Luis Guzman and Remington (1917).
Two: Luis Quintanilla and electric ears (1924).
Three: Salvador Novo and Guadalupe "the Chinaza" (1924).
Four: Federico Sánchez Fogarty and Toltec (1928).
Five: José Vasconcelos and Goebbels (1940). Six
Francisco Tario chicken and murderous (1943). Seven
: José Revueltas and Perez (1943). Eight
: Octavio Paz and the Maya (1973).
Nine: Barbara Jacobs and ruuma Zape (1982). Ten
: Crack and Francisco Villa (2000).
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The dynamics are as follows: the reader will find the unknown text and then comes a very interesting ramble, in which the writers speak of the impressions that were left the text, but also make a brief summary of the importance of the author and explain why this text has been regarded by them as heterodox, and every conversation ends with a communicating vessel that leads directly to the treatment of the next author with text.
anthologized authors and texts are:
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One: Martin Luis Guzman and Remington (1917).
Two: Luis Quintanilla and electric ears (1924).
Three: Salvador Novo and Guadalupe "the Chinaza" (1924).
Four: Federico Sánchez Fogarty and Toltec (1928).
Five: José Vasconcelos and Goebbels (1940). Six
Francisco Tario chicken and murderous (1943). Seven
: José Revueltas and Perez (1943). Eight
: Octavio Paz and the Maya (1973).
Nine: Barbara Jacobs and ruuma Zape (1982). Ten
: Crack and Francisco Villa (2000).
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The dynamics are as follows: the reader will find the unknown text and then comes a very interesting ramble, in which the writers speak of the impressions that were left the text, but also make a brief summary of the importance of the author and explain why this text has been regarded by them as heterodox, and every conversation ends with a communicating vessel that leads directly to the treatment of the next author with text.
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Among the findings that the reader will find in this book should read the discussion in which they arrive Gallo and Padilla, saying that the text of Barbara Jacobs, written in an invented language, is more strident than those made by Quintanilla , Maples Arce or Artzubide and we had to wait more than 60 years to read the first story written in a strident. Another discovery that gives this anthology is a story written by Revueltas influenced very Kafkaesque.
Among the findings that the reader will find in this book should read the discussion in which they arrive Gallo and Padilla, saying that the text of Barbara Jacobs, written in an invented language, is more strident than those made by Quintanilla , Maples Arce or Artzubide and we had to wait more than 60 years to read the first story written in a strident. Another discovery that gives this anthology is a story written by Revueltas influenced very Kafkaesque.
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Anyway, this is a book worth reading, besides being the first to come with a guarantee of quality: yes reading this book will not radically change its assessment of Mexican literature, we will refund your money his cannon.
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Two books very unruly.
Anyway, this is a book worth reading, besides being the first to come with a guarantee of quality: yes reading this book will not radically change its assessment of Mexican literature, we will refund your money his cannon.
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Two books very unruly.
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Finally and changing authors. The new image of the editorial UDLA, inheritance left by Pedro Angel Palou a prestigious university, has brought to light two real mini-books Knots Juan Gerardo Sampedro and Gabriel Wolfson Fund. Design of the collection is unique work of Germain Montalvo, which explains the stylistic brotherhood with the magazine has Revuelta. The publisher's address lies in Diana Jaramillo. Sampedro is prologue by Guillermo Samperio, while in the back pen appears to present Pedro Ángel Palou. It is certainly a nice edition to you as a reader should approach.
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