“It was night and it was raining / the sun came through the chimney / in the light of an unlit lantern / a blind man was reading a letter without letters / it was about the escape / of a paralyzed man on a bicycle / who was holding on to the pigtails / of his bald brother.”
The forms of expression in popular literature are strange. But if we search for this story on the Internet, we will find variations. None of them look like the ones I knew as a child. Where do these sentences come from? How did they end up here?
In Colegiales, popular year-end literature ignores these stories of yesterday. The mystery of a school near the Miter Railway still lies in the first and fourth grade classrooms. The nun is in first class. In Segundo’s room is the terror cat named Angela. In the third room is the clown Momo. Chucky is in the library. The chupacabra is in the patio. La Llorona is said to have appeared in the fourth grade classroom. And in the fifth, sixth and seventh there is no monsterexcept for the useless rat that runs around every corner. It’s difficult to find a place in the entire city where so many different legends come together. With such a high level of syncretism. Some stories come to us from the cinema. Others belong to folklore.
The horror story is told to her father by a girl from the back seat of the car. While taking her to school on one of her last mornings. The father explains that this is all “literature”: a story that the older ones made up to laugh at the younger ones. If not: Why are there only no monsters in the fifth, sixth and seventh classrooms? The girl tells her father that she is no longer afraid. Besides that Classes end very soon. And all the monsters will go on vacation.
Homero Expósito was once asked what the difference was between cultivated poetry and popular poetry. Expósito, who has written more than 120 tango texts, simply answered: none. Clear. He did one of the strangest and most mysterious things in Argentine literature. If Homero Manzi is a romantic poet; and if Discépolo were a realistic poet; Homer exposition He created a surreal tango poetry. Inspired by the way of constructing metaphors of ultraism, he wrote sentences such as: “Braids the color of bitter dull / that sweetened my gray lethargy”; “A violin bow / nailed to a sparrow”; “It was softer than water / than soft water.” What color is a bitter dull braid? Green you could say, maybe with a little gold? The most fascinating thing is that bitter braids are sweeter. And what is a violin bow stuck in a sparrow? It is most strange: we see the wounded sparrow, but we also see it flying, flying across the sky like music. Let no one claim that literature is too difficult to reach the masses. It doesn’t matter whether a literature is cultivated or popular. The most important thing is that it is literature.
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