40 years after the emergence of Zero Hour Movement and the country the world has changed to unknown. Peru, despite the economic crisis and violence, still unfinished, has been reaffirmed in a long delayed identity. The collective dream has long been more persistent and unpredictable and more effective than political or literary voluntarism. Much more so than this cruel nightmare whose offer of paradise resting on the feasibility of building atop a mountain of corpses, or the dark narcofascista regime that prevailed for a decade from the fringes of organized crime and terror psychosocial. In this passage climaxes uncertainties and undefined, which is the most recent history of Peru, is submerged HZ.
No, at this stage of the XXI century, could our movement petty poetic importance who appointed him to this social subject is now recognized as the country's majority. We were the first to sense that poetry in the population resting in the process of rapid urbanization that beat a system and repressive means provided for installation on the margins of power and undermine it from there with his stubbornness in those citizens from the provinces have persisted in a struggle against centralism and dying.
40 years in the lives of 28 million compatriots has not been easy and will not be as the basic outline of an unfair distribution has not gone for ever in the country and the world. This Desire is very far from completion when the supremacy of financial institutions and free market model seek to perpetuate pockets of prosperity and comfort at the expense of a very wide majority of cynicism victim of neo-liberal orthodoxy that has failed miserably at the end of the Bush administration As a consequence, inter alia, to encourage financial speculation to overflowing globalized crime and fascism. HZ
found the face of this new social actor not because its members having a keen sense of prophecy, but because from his first texts discovered that a new poetry has to rest on a new word ("I think, honestly, said Vallejo, that the poet has a historical sense of language, which rightly seeks groping its expression. ") That word is what the horazerianos found on the streets or brought in Andean and Amazonian populations to urban areas, significantly modifying a traditional way of speaking, writing, and to perceive the sound and sense of beauty. The difference had to highlight. Maybe that's why the writers referred to by Martin Lienhard "followers of the early English writers living in the country" (clearly José Miguel Oviedo) and poor little understanding the depth of the new word. There was, as stated in the 70's and even today, as we read an outdated James Higgins, who has written with wit on José María Arguedas and the Andean thought but was absolutely unable to understand what is the umbilical cord between the writer and HZ-that "parricide" or "fratricidal" unaware of the elementary rules of aesthetics, but refused to apply it a context that contradicted. His was another aesthetic.
HZ Over these 40 years has consolidated its "frank rupture process of" resisting the worst hardships of the uncritical and mobsters for decades dreamed of and still dream of our disappearance to enact on a fragmented scenario of cultural precarious balance, the return of canon administered from sinecures passing through the universities to the media and poor and mediocre-or publishing editorial stupid surveys among the canons.
Peru in this new century can not be recognized in this narrow horizon aspiring remnants of the colonial and provincial regulations. Peru today, for better or worse, it is still premature to make a conclusive reading-is globalized, participates as many countries of the so-called mass culture coexist inside, quite often conflictive, cultural islands arising from spontaneously in human settlements and in the provinces and abroad, a poetry exposed to the challenges of everyday word, an urge to fracture the complex blankness, the revaluation of personal experience, micro, but significant, by comparison with the others and so-called "universal aesthetic values," which is nothing more than the aesthetics of social sector they belong administrators of the standard. It is the drive to develop the poetic history of the voiceless communities articulated a tangible way from the sandy urban and provinces: the greatest forgotten spaces of the interior. Today
not even have to go through Lima's poetry, the center that, paradoxically, today as never could confirm the prescient phrase Valdelomar, "Peru is Lima" but we know that will never be achieved: as their access to democratize the information revolution is undermining the status irreversibly heliocentric Lima mediator of world culture in the motorways of the Internet and virtual education. Thousands of people who have lived outside the great books of all time, major technological and scientific advances, are invaded by that instrument for some prophets of the establishment will be the most cost-effective capital of the millennium that we open-heartedly as terrible wars have been the darkest heralds from African genocides, Balkan, the symbolic collapse of the twin towers New York and imperial overreaction in Iraq, Afghanistan and Iran, besides the perpetual strife between Palestinians and Jews.
course in a scenario of this nature the sterile voice of the watchmen of good speaking and writing no more than just a simple gesture, the last swansong extinct, as it has verified the validity of HZ, the movement that Peruvians must, among other things, the democratization of poetry writing and his self as actors in a story and irreplicable transferable. Large fractures are seen not only poetic in terms of writing but in social behaviors. HZ Peruvians returned to express confidence from their innermost feelings and frustrations utopias today revealed in the writing of many young people who no longer need horazeriana proposed fracture (not the dispute of a journalistic space, a scholarship, a trip or a glass of whiskey in embassies ), but simply expressed as the principle that the silenced or silent had to use the poetic voice, and in many cases higher.
Language, as we know, is that its rules and apprehensive police: it is the perfect computer has been designed and will develop the human being and a body in a constant state feedback. Its vitality depends solely on the communities that recreate and modify the rhythm of history. Whoever does not understand this basic premise can not understand what the role of the poet: to be the perpetrator (including the perpetrator) of the changes of his time. Who is not alert to these changes to be applied in their texts simply pass into oblivion. More legitimate because the premise of poetry is to reveal the soul of another (the reader) and this is true from Homer to Derek Walcott, the one that inhabits a space that has a biography (one time) and a complicity with the operator . Who reveals to another reveals itself and not the reverse. Who reveals the other reveals to the world pouring over some of its infinite angles a shade of light and truth different. No there is only one light, no one truth, there is no single way to express in one language and this is what true poetry reveals.
HZ The great task was to explain why the same blank page in a manner of speaking, feeling and dreaming which is our own in a very wide community. And our belligerence came basically because that voice of warning, which we launched in 1970, was attacked by a poem I wrote, thought and dreamed from other communities, English, French, English, "but not as Peruvian or Latin American. The Peru of these decades we have been proved right.
And the "orgy of work" which then led to proposed manifestos in public pronouncements, in massive concerts in sharing experiences with poets from other countries, but mostly in books that are now essential for any young Peruvian. And beside them we should mention our brothers in Mexico infrarrealists had the same uncompromising attitude against a system that is corrupting the writers and feeding a proper aesthetic poetry whose only concern is to combat popular word.
No, at this stage of the XXI century, could our movement petty poetic importance who appointed him to this social subject is now recognized as the country's majority. We were the first to sense that poetry in the population resting in the process of rapid urbanization that beat a system and repressive means provided for installation on the margins of power and undermine it from there with his stubbornness in those citizens from the provinces have persisted in a struggle against centralism and dying.
40 years in the lives of 28 million compatriots has not been easy and will not be as the basic outline of an unfair distribution has not gone for ever in the country and the world. This Desire is very far from completion when the supremacy of financial institutions and free market model seek to perpetuate pockets of prosperity and comfort at the expense of a very wide majority of cynicism victim of neo-liberal orthodoxy that has failed miserably at the end of the Bush administration As a consequence, inter alia, to encourage financial speculation to overflowing globalized crime and fascism. HZ
found the face of this new social actor not because its members having a keen sense of prophecy, but because from his first texts discovered that a new poetry has to rest on a new word ("I think, honestly, said Vallejo, that the poet has a historical sense of language, which rightly seeks groping its expression. ") That word is what the horazerianos found on the streets or brought in Andean and Amazonian populations to urban areas, significantly modifying a traditional way of speaking, writing, and to perceive the sound and sense of beauty. The difference had to highlight. Maybe that's why the writers referred to by Martin Lienhard "followers of the early English writers living in the country" (clearly José Miguel Oviedo) and poor little understanding the depth of the new word. There was, as stated in the 70's and even today, as we read an outdated James Higgins, who has written with wit on José María Arguedas and the Andean thought but was absolutely unable to understand what is the umbilical cord between the writer and HZ-that "parricide" or "fratricidal" unaware of the elementary rules of aesthetics, but refused to apply it a context that contradicted. His was another aesthetic.
HZ Over these 40 years has consolidated its "frank rupture process of" resisting the worst hardships of the uncritical and mobsters for decades dreamed of and still dream of our disappearance to enact on a fragmented scenario of cultural precarious balance, the return of canon administered from sinecures passing through the universities to the media and poor and mediocre-or publishing editorial stupid surveys among the canons.
Peru in this new century can not be recognized in this narrow horizon aspiring remnants of the colonial and provincial regulations. Peru today, for better or worse, it is still premature to make a conclusive reading-is globalized, participates as many countries of the so-called mass culture coexist inside, quite often conflictive, cultural islands arising from spontaneously in human settlements and in the provinces and abroad, a poetry exposed to the challenges of everyday word, an urge to fracture the complex blankness, the revaluation of personal experience, micro, but significant, by comparison with the others and so-called "universal aesthetic values," which is nothing more than the aesthetics of social sector they belong administrators of the standard. It is the drive to develop the poetic history of the voiceless communities articulated a tangible way from the sandy urban and provinces: the greatest forgotten spaces of the interior. Today
not even have to go through Lima's poetry, the center that, paradoxically, today as never could confirm the prescient phrase Valdelomar, "Peru is Lima" but we know that will never be achieved: as their access to democratize the information revolution is undermining the status irreversibly heliocentric Lima mediator of world culture in the motorways of the Internet and virtual education. Thousands of people who have lived outside the great books of all time, major technological and scientific advances, are invaded by that instrument for some prophets of the establishment will be the most cost-effective capital of the millennium that we open-heartedly as terrible wars have been the darkest heralds from African genocides, Balkan, the symbolic collapse of the twin towers New York and imperial overreaction in Iraq, Afghanistan and Iran, besides the perpetual strife between Palestinians and Jews.
course in a scenario of this nature the sterile voice of the watchmen of good speaking and writing no more than just a simple gesture, the last swansong extinct, as it has verified the validity of HZ, the movement that Peruvians must, among other things, the democratization of poetry writing and his self as actors in a story and irreplicable transferable. Large fractures are seen not only poetic in terms of writing but in social behaviors. HZ Peruvians returned to express confidence from their innermost feelings and frustrations utopias today revealed in the writing of many young people who no longer need horazeriana proposed fracture (not the dispute of a journalistic space, a scholarship, a trip or a glass of whiskey in embassies ), but simply expressed as the principle that the silenced or silent had to use the poetic voice, and in many cases higher.
Language, as we know, is that its rules and apprehensive police: it is the perfect computer has been designed and will develop the human being and a body in a constant state feedback. Its vitality depends solely on the communities that recreate and modify the rhythm of history. Whoever does not understand this basic premise can not understand what the role of the poet: to be the perpetrator (including the perpetrator) of the changes of his time. Who is not alert to these changes to be applied in their texts simply pass into oblivion. More legitimate because the premise of poetry is to reveal the soul of another (the reader) and this is true from Homer to Derek Walcott, the one that inhabits a space that has a biography (one time) and a complicity with the operator . Who reveals to another reveals itself and not the reverse. Who reveals the other reveals to the world pouring over some of its infinite angles a shade of light and truth different. No there is only one light, no one truth, there is no single way to express in one language and this is what true poetry reveals.
HZ The great task was to explain why the same blank page in a manner of speaking, feeling and dreaming which is our own in a very wide community. And our belligerence came basically because that voice of warning, which we launched in 1970, was attacked by a poem I wrote, thought and dreamed from other communities, English, French, English, "but not as Peruvian or Latin American. The Peru of these decades we have been proved right.
And the "orgy of work" which then led to proposed manifestos in public pronouncements, in massive concerts in sharing experiences with poets from other countries, but mostly in books that are now essential for any young Peruvian. And beside them we should mention our brothers in Mexico infrarrealists had the same uncompromising attitude against a system that is corrupting the writers and feeding a proper aesthetic poetry whose only concern is to combat popular word.
All these authors show that HZ was right, that the poem Integral was the poetic voice of Peru and Latin America, for that very reason it has been assigned to other voices of young people fed the same rhetoric and gargling with the same poetically correct.
HZ is convinced that the young poets of Latin America will consolidate the achievements made through the Comprehensive Poetry in the future this is the expression of majorities and minorities (urban, rural, native language speakers, those from other foreign cultures settled in our countries), so that reflects as closely as possible our sensitivity hybrid, according to the prophetic name of Gamaliel Churata.
Of course, what HZ do not ask is that young people write as the founders of HZ, but find new ways, new experiments in the word recognize that the frank and beautiful process of breaking that ultimately is nothing more than a declaration of love for life and a declaration of war against the preachers of death, triggers the destruction of the planet, the suicide irrational representatives of capitalism, inequality and economic and political mediations of power, no matter where they originate. Oros
problems concerned Zero Hour today. The prolongation of life on our planet is tragically marked by the evidence (and now there can be no excuse that this is an ideological alibi), scientifically palpable, that the land can not sustain the level of consumption of fossil energy demanded by capitalism. Global warming and pollution show that the dream of being sold by this system (which itself relies on ideology as a dogma) is false: not all humans can enjoy their purported benefits born of an exacerbated individualism, selfishness of the unfair competition, declining citizens against large corporations, privatization of life and especially the looting of natural resources ecocide. Because if humans enjoy the same comfort, the planet would break in an instant, universal darkness destroying everything that was built in billions of years. Put another way: we would need eight planets to maintain a level of consumption for all humanity was installed in the poorly understood development. Mathematically, this means that the current welfare is discriminatory, that only a quarter of the human species can taste consumerism, while the other three quarters must accompany the orgy of street eroded satisfied from hunger, ignorance and precarious health. And the other people, loved animals, plants, rivers and mountains, as they said, and Gary Snyder Henry Thoreau, do not have representatives who advocate for them in international forums and humans are demanding represent accused terrorists. But
globalization has recently produced the worst financial disasters, reminding us that its validity depends on the continuing uncertainty and clever sleight of hand of a caste of criminals disguised as bankers, whom the world's most powerful states reward rather than punish , implementing rescue plans and reviving the economy, which is not nothing but a system that cyclically remonetarizar will encounter the same rock to the scam to humanity, the heathen of the latter (some argue that it has been more severe than the crash of 1930) and all financial disasters.
One last point very serious finding wars are encouraged, fueled and produced by the transnational construction of weapons that permanently govern the world, as evidenced when George Bush Jr. was registered as U.S. president in a fraudulent election, the result of a plot involving a tanker maffia , industrial and banking arms, they now seek to topple Barak Obama, further into his nostrils the coups, placed chairs and maintain an almost complete domination of the media.
This is the view that the poet must face today when he writes verse, knowing that more true today is born amazed that the world still hold. And that has to be intransigent, solidarity with all humanity and should propose, as he always has the poet, the dream of harmonious life of fulfillment. Because our destination in the world is to inhabit our beautiful planet for the happiness that is possible as you anticipate the poets, painters and musicians from the cave of Altamira.
On the other hand, how poetically express this first decade of the century? It is a matter of prime importance if a poet understands that the life of a literary text is linked inextricably to the social word that is ever changing and becomes the essence of an era, as already mentioned.
In the present context it highlight the changes that have occurred. Everyday language has been contaminated with technological jargon. They exchanged their views through a linguistic repertoire that have introduced new computer and computer products. Neologisms that only two decades ago seemed like an arbitrary and exclusive standard of poetry is not a word of the tribe-cross from side to side all the social sectors. "Reset", "Print", "Render" and even phonetic utterances of awful-like "access" instead of using the word correctly: "access" - start to claim legitimacy semantic without considering other wider field: the designation of the objects, ie substantivation, in words that do not belong to the first English, second does not have an equivalent in the same ("chip", "byte", "drive" ) and third was pronounced phonetically as Standard English ("y" and "ai").
The academic purism, which is still rampant a few years ago, we say in Peru, but most zealous in countries like Mexico, Spain and Colombia, has lost the latest battle. Globalization in terms of language is indeed a monopoly of English the everyday spaces of our language. It is still premature to know what the defense mechanisms of our linguistic community against these aggressive changes seem irreversible.
For this reason, the poetry of this time meet the challenges of science and technology requires more imagination. Because we are in a period of unpredictable change.
Paradoxically, the global framework (big village) is proposing an unusual and resurrection not only because it touches a certain spatial overlap of cutting rubendariano modernism: the fusion of contrasting spaces (the king of Norway to the Aztec gods Amazonian monkeys Chinese swans) with a noticeable difference in the emphasis it places the order of the senses: modernism rather put him in the ear (the music of verse, which Darius was its most eminent and so far unsurpassed craftsman, but on the other hand Andean fusion music, rock and salsa today also seduce the ear of the poet) and postmodernism rather puts the view (the image). But equally avant-garde poetic forms can be resurrected on the understanding that they exhibited a disagreement with the traditional rules and expressed strongly influenced sensitivity of the technology (film, automobiles, skyscrapers). However, unlike then, when avant-garde seemed to reflect historical boundless enthusiasm, especially in its accession to the socialist revolution and world wars, until mid-century, and the fall of the Berlin Wall, in recent decades, brought down, poetry Current is infected rather the uncertainty and bewilderment, offset by the poetic light (Mariátegui already had a name for it: "poetics of pure nonsense.") Today
any poetic utopia is socially possible. This means that poetry must change utopias. More than ever today poetry must be claimed ethical authority. There is more commitment with anyone except dispossessed humanity ("the irreciclables" and "disposable" feast of neoliberal, ie 3 / 4 of the world) and benign home, our blue planet. The illusion of progress through the all-embracing rules and hides market omnivorousness scandalous abysmal relations between human beings and the tragic agony of the planet. The poetry of these times has to assume the moral leadership of these critical issues for the continuity of life.
computing poetic proposed new formats (multimedia, internet, DVD, virtual book, etc.). Even in countries like ours, where the purchasing power prevents the majority of the horizontality of the new contributions, editing, industrially speaking, as part of trade is undergoing a substantive alteration. The publication of a work is no task extrapoética (publishers and printers) but the same author, to the extent that current technology through books, edited by craftsmen with runs, although significant, are greatly offset by dissemination via the Internet.
Perhaps this ambiguous feeling of excitement prevailed / uncertainty about the future in the continent a depletion of forms and languages. Perhaps the poets begin to feel suspicious of the creative process that has gone social their exclusivity. And fearful of the changes are hidden in tradition and yoísmo (the canonical and provided so-called poets of the word "resort to neobarroquismo profitable to the extent that does not compromise the poetic word to the current horrors in the world). HZ is against this reaction autism and encourages young poets to catch up with the messages that society sends us. They have to incorporate the language from its science and technology, to moderate the dictatorship of the visual image (computers are screens, video games, etc.) With a plural sensory disseminate their materials on the Internet (which has multiplied the possibilities of reading) to break definitively Taste the provincial market which adds permanence principle to its logical elitist Darwinian component: the fittest is the law of standing (the strategic marketing and hoarding of the four or five existing media in the center of power each less representative). And the law of prestige is the colonial mentality of the market.
The fear is explained by the aggression of success. Poetry, art in general, does not work under such laws even if some liberal-Vargas Llosa believe that's enough-mainly a policy of intensive education for people to acquire common and cultural products. Poetry has never been growing majorities here either in Europe or Asia. Since the demands of the market, obtain material gain, is objectively a failure. No poet can live off their books. And even if it were possible would be ridiculously isolated cases. Does this
must disappear? No. Moreover, the poet-producer-survives thanks to its competence to act in other socioeconomic areas for many centuries. And his work there for free exclusively yours. It is at once creator, publisher and distributor of its own ingenuity. Not to sell is not something that you lose sleep. Poetry is dedicated to a field in which social relations are not constrained by the exchange of material needs and satisfactions. Nor can the recreational area, like sports or popular music, for example, are justified because they are an investment that yields huge dividends from the social demand for mass culture. Poetry does not.
Had that would place it somewhere where the company intended to experimental science: much of what research there may never be applicable, but society's interest that these activities are done because they ensure the prevention of diseases and other genetic defects. Today, thousands of laboratories seeking a cure stubbornly against AIDS and cancer. She will at some point. So nobody questions the billions of dollars because they understand they are for the high end of saving lives. Poetry, art in general, be thought of as a social investment of this order and not as a material recovery. His tenure ensures enrichment of languages. Those who do not understand that languages \u200b\u200bare living bodies that need to be renewed will never understand the relationship of the poetry with them, rather than the novel that it can enter the recreational area and further justifying mass market logic, as Vargas Llosa argues in its Onetti last trial: that the novel is an art of lying with an aggregate value (the art of narration) but not to recreate reality, not to modify, but to "entertain" satisfied and resigned the current system. Good account in this scenario, the novel is a commercial product and only that.
The poet must be understood as an investigator of the word, a "detectuve" said Boland (special way of the popular word) in a permanent state of conflict, creating taut structures, kinkier, and reproduces the sensitivity of the new social profiles music imposed by the times you live. The poet clean the floor powder day, but not the spirit that gave effect to the "pure poetry" from the nineteenth century, as part of an obsessive social "cleansing" (in loving, dressing, eating and writing), dividing our people into "civilized" and "barbarians" (Vargas Llosa continues to do so), but as the returns process the word devalued social meaning through use, such as currency, to turn it in-significant. Moreover, legitimate in many cases the new social contributions (the slang, the replan, the slang) ensure permanence and reproduction of the language. These functions are essential to maintaining the only way for humans to interact.
Vista and the poetry is a field that companies must preserve and care for their languages \u200b\u200bas part of their identity. And yet we are not talking about state or private health care policy in favor of poetry (contests, scholarships, workshops, editorial, retirement, credit) for services rendered to the language. These policies have not been playing conditions for poetry in any country except for Mexico (and his poetry is not so qualitatively different from the rest, in contrast, has been disabled) and never will. We are talking about a social activity that should remain in history as an intimate part of our best values.
Finally: poetry is still achievable dream maybe that humans can overcome our ills (war, greed, power) and live without horizon than our fulfillment. And that song to life is the only challenge they fear death, oblivion and the selfish. This remains the principle which gives permanence to 40 years after Time Zero.
Lima, January 2011
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