They are the opposite of cold criticism, which operates through conditioned reflex. They lash out defenselessly, yes, but forcefully defenseless (in that sense, like some fairy tale). They are critical dyers, applying precise pressure to another’s suit so that the most enveloping vapors are emitted. Bullfighting critics, who risk their lives in their adventures, imply that it sometimes happens this way: Don’t start a book until you’ve finished it.
Louis Cittarraone He left loose notes on the greatest critical book of Argentine literature – a book Borges By Bioy Casares And now the fragments are coming together Contempt ceremony It is a similarly skipped way of appreciating the mobile signals that tempted them – all three of them – and their rapid turns. Behind the smokescreen of glittering gossip, Cittaroone sniffs out every step of friendship and betrayal, like twin brothers who have diverged on their way to losing their pursuers. He calibrates implications and resonances, unpacks allusions, peels back layers, and synthesizes things from disparate fields; Hence the ambiguity of its encrypted formulas for some.
Like any head given to cunningly indulging in its faults and matrices, Louis Cittarraone It was unique. There are phrases of his that are deceptive: “It is as if we have all been absolved by an invisible legitimacy.” Contempt ceremony It was published in conjunction with Notes and reviews on rocks. On this unexpected triple album by Lonely Fascinating essays (even when the author was a young man with a guitarist’s fingernails), the essays on the Welsh musician John Cale and on the English critic Nick Cohen are worth the price of the book alone.
It is a rare case of a writer successfully standing up for himself. Cesar Ira — who may have theorized a lot about his work to build an outer shield — defended Pizarnik from his fans, from herself, and from his fascination as a friend and reader, in his masterful critical post-mortem. Alejandra Pizarnik. imagenow reissued. in Acts of presenceAira continued to distract himself, choosing side authors from his pantheon as subjects of study specifically, among other things, to delve deeply into a dominant theme in his work (his profession), an issue he took up and reworked in his later novels. The room and archaeologist.
Back cover for The room He reveals that in this case there was some archaeological work on the part of Ira, who dug into her archives and translated an unpublished novel from 1996, originally written in French. Published 30 years later, then, High Jump satirizes calendar patterns and asserts that they are best discovered at the intersection of “old” and “new” books, where literature escapes or takes refuge. It’s nice to see how his leitmotifs – and how well he borrows from and satirizes his job – flow from one novel to the next without heaviness and bland, magical lexicon.
Border areasl Gerald MurnaneHe attests that highly conscious writing performs a critical act in public and on a tightrope. A bunch of arrowsl Maria GinzaIt is an indirect criticism of his previous books, or rather – because they were almost perfect – a fragmented way of reinventing himself. There were other valuable and unique volumes of the same criticism: The natural history of cinemaWritten by Pierre Leon, Cinema according to Truffaut, An introduction to the real history of cinema by Godard, Hollywood insistence By Thomas Elsaesser, Someone is singing in the next roomBy Alan Pauls The man who saw the bearWritten by Nora Avaro, Criticism youthby Judith Podlubny, and critical works from elsewhere: Philosophical Foundationwritten by Etienne Souriau, and Individual and society according to SpinozaBy Alexander Matheron.
Letters to his mother Baudelaire is a devastating judgment, upon himself and his mother, by a poetic and critical genius never before seen. Meanwhile, the Argentine poet Liliana Ponce He had spent more than half a century secretly – almost silently – designing a ship, and once perfection had been achieved, he casually turned it around. Now, these clay shards show their effects and invite the reader to reconstruct the granite puzzle “Where do we begin by recognizing the islands beyond.” The Collected Poetry of Liliana Pons, Boomerang nature Because of its extreme tenderness, it is an implicit and celebratory criticism of many things in this world.