INTERESTING OF POETRY BOOK REVIEWS "CIUDADELIRIO" MARIO SIGN Press 
COMPASS OF BATS
Tulio Mora Mario Morquencho (Piura, 28) is unusual because considering a scientific career at UNI and writes poetry. The is no doubt (Armando Arteaga, for example, is an architect), but that does not invalidate the first surprise on their willingness creative. The second is that his poems "Ciudadelirio" published by Black Sun, they are invaded by what we might call a "professional deformation" as a result of the influence of his career, but rather flow with the instinct of the senses. From the first poem, "City", which he sees more from the perspective of the hills (ie from the periphery) surrounding the metropolis, already refers to "words" bat ", ie the blind animal can be oriented sound emitted by the radar, to roam the two sides of a single world-city-and write about the inevitable contrast, even if this turns rather to the image, the visual record as a chronicler who would play the most unusual details of a place that causes delirium, frenzy and against whom can not fight, only witness.
I'm interested in polysemic neologism "Ciudadelirio" because I find him until three meanings: the most obvious, we are faced with a text-witness to the megacity (criticism Colombian Consuelo Hernandez mentioned that American poetry is almost inevitably experience writing ), on which states have not yet used to it (Morquencho lives in Lima for four years), the second trying to find a roadmap cathartic against the visual chaos, the immobility, the differentiation of the robot faces , automated, in a reverie that paradoxically, while together into a shapeless mass, is also an outsider, a surprise and then the protocol of the relationship between private and foreign born of mistrust.
But the third adds a geographic feature (river), we are talking about the Rimac, of course, as another symbol of the bipartition space. Just one of his poems that title and what surprised him, a man accustomed to the boundless extension of the sea, is that as the city that the river runs, this is a tributary that resists even death, "Suicide from there? (Referring to the bridge) - or crazy! "- And if there were fish in those waters suffer life imprisonment. To Morquencho, another son of Vallejo, the river "We aborted / vomiting to infinity / of God."
A text that has opted for regurgitation of the experience, organic removal of assimilates daily through the senses, not easy for a reader who wants to find in classic poetry the controversial beauty, but empathy so terrible, by the horror and the grotesque. Good account Morquencho poems could be described as a journey through the exhibition of the misery that has paralyzed the inhabitants of Lima (I refer to the poem "Stop") and would only leave as a witness to speak.
Derek Walcott, the Caribbean poet extraordinary, writes somewhere in "Omeros" The in-significant, the invisible by the power and social inequalities, have no memory of his past and if they are distorted by the official story. For this reason, issuers take writing as a duty (say with the same moral attitude, almost desperate, a Huaman Poma de Ayala) to capture the script and make it the instrument of his testimony (Morquencho compared to poetry as a graffiti on a wall) where transit is not very comfortable for life.
is what has made this poet who has in the first part of "Ciudadelirio" several poems of a bill very consistent, as "The seven-three" (the number a vehicle of a public transport line) through the windows recorporiza these faceless faces "who have an ultrasound on Monday" or "Movie", a point very soon, but successful, that from less visible detail (the credits of a film) manages to extract a philosophical message, "as the waking life / and the other is asleep / near the window closed to fantasy", or as deliberately chaotic version of historical memory that raises the famous University Park, setting a classic in the new Peruvian poetry from the English conquest to the phenomenon of migration, the Morquencho feel that one among provinces and to distance itself from the uniformity-in poverty, the frustration comes back to "resurrect" his room.
The most notable is undoubtedly the prose poem "Murder on the street Omicron" which explicitly begins with the recognition of being nothing, "I have killed. I have avenged the months of invisibility. To be like anybody. " In this case, and end, the word bat is a knife and killing an argument against the whole system has made life "a strange disease called oblivion."
Morquencho I think if this route could lie pleasant surprises in other publications. "Ciudadelirio" also brings in the new poetry that began in the register 70 when the city awoke multitonal on the happy and quiet, the goldsmiths of a beauty that does not announce the new social subjects who were populating Lima and all country. But there is one beauty, that's what Morquencho again ratified, as the poets who preceded him, from Zero Hora, Kloaka, Neon, even the youngest this century. What you need is a hazy and uncertain geography in which the poet proceeds with the compass of bats.
GET THIS BOOK IS A SURPRISE TO THE ABYSS (AND THE WORLD) WITH OPEN MOUTH Karina
Ciudadelirio Valcárcel is the first book of poems by Mario Morquencho, 80 pages containing 30 poems of long lines and titles sometimes longer still. But Ciudadelirio not only a book of poems, Morquencho Mario is not only an author more. Ciudadelirio is a map that unfolds as their reading, which shows different routes to explore the city, sitting from the chair that Mario has worked for us. Forty
steps later we are here, presenting his first book. This initiative, which Mario had to put his writings on the web is essentially the first step to the book we now have in our hands, is the decision to share with the world the way they perceive, interpret and assimilate life. It reflects the desire to publish and meet people with whom they feel identified, what I find totally healthy well as necessary. Mario began publishing in virtual media, on the same page where I hung my poems for twenty years, was a boy of this page who took Mario to my house and with which I dispute the title of Augusto Ferrando, but Mario in I know deep inside that I discovered you and whoever says otherwise I hope to exit the bar to hold on to bottles at. Mario met in 2006 at meetings of the missing or rather transvestite group at that time Heridita was composed of 6 cats. I was very pregnant so we could say that there were six cats and a half.
With Mario have been many nights of walking Quilqueña, exercises for writing, in Sunday meetings, impromptu lunches, wine, beer, rum, pisco, readings, virtual lectures, and readings confidences of friends who are here present to celebrate and willing to losing internal organs in addition to drinking rum poetry that is sure his friend Jorge Flores has brought hidden in a bottle of Pepsi.
is why we mean both the publication of this book, somehow we have seen to "grow" with Mario and have shared gestation, although it sounds a bit gay, pregnancy has also been a long and impatient but eventually brought us enormous satisfaction, the record of his perseverance in this world and sometimes treacherous counsel.
Ciudadelirio is split into three: The city, shadows and crazy night Chaskera extract. The first part is a set of texts that describe basically the city of Lima, is the Rimac River, the Park University, the seven three other venues in the city transformed by the author, but did not speak of a conventional description is the disenchanted vision, but above all criticism and even Protestant traits that can distinguish the lines the poem "On the edge of a Peruvian city" (quote)
"There
thousands die in the dumps on the outskirts of the city.
Coughing up blood Coughing Coughing children
remorse. After that misery
sits on the coast
to draw some sleep in the sand and lit a cigarette
worried that smokes every year (...)"
and more clearly in the poem "Rimac" the first paragraph says
"I
annoying to life-I do not know why her -
When I pass the bridge and I see little notes of love floating in the River Lee
(...)"
Here is another trait distinguishes the poetry of Mario Morquencho, sarcasm in that sentence sometimes and sometimes brings to reality, "University Park" writes:
"I grow houses manned street where a madman is
Viceroy in the corners. "
But perhaps the text that best combine the two features already mentioned is" Murder on the street Omicron "also is written in prose, which recounts a murder, and specifically as the character gets rid of the body by wrapping it with pages Newspaper:
"I chose to wrap it with old newspapers, wrapping the remains, the body daily wrap with news of last week's suicide yesterday in a hostel lost in the fog in the morning in Lima, wrapping his legs with police abuse and corruption in the ministries then contrasts
(...)" saying
"After wrapping the body as a statue of newspaper, as a work of art of what you read before going to work or what you see at night before bed and
(...)" we finally smiles to these final lines that share the end of his revenge
"The knife on the table saw russet
and dance the tango ... Tango dance
very stupid. "
In Shadows delusional, "the author involves us in a mysterious atmosphere, paranormal, and sometimes ominous, death is the theme, this theme is evident in the poem" Kneeling dead, "Mario writes:
" While my clothes fall
shiver in my knees dark parade singing
where new creatures are killed in the universe. "
Just as in the poem" Gate "which leaves us with the feeling of a whole devastating:
" Maybe it was a star
ambitious and cannibal who ate the
stars swept through galaxies and dairy
consoled us grew to swallow
eternity and the infinite "
Finally, in" Extracts from a night chaskera "shows two things: first exploration of eroticism, which makes Mario so lilting, making enough sensuality steeped verses:
" Your blouse spreads its wings
and flies in the instincts
gives your bra gives gives gives pleasure.
Your white skin, your breasts, sagging. "
The other thing is in this last part is the record of the night and greater significance of the readings, the texts are created for those times, you (the collective ) remember poems like "Mirror, Mirror", "Little Quixote" "Faith," "Atmosphere" and one that Mario read the farewell concert at La Noche de Barranco and brazen made my heart: "And what will happen tomorrow" from which I quote:
"and if at the time to say goodbye we say: must read
insist must read! After the ceremony
must read must read after the humble lion
we look so beautiful in our sober existence "
In conclusion, if we were to talk about influences, would be to appoint César Vallejo and Oliver Girondo The use of neologisms is a constant in the work of Mario being even the title of this book is a result entirely consistent neologism for those who take a turn in these pages.
POETRY AS CHALLENGE TO
URBE Jorge Hurtado
In the poetry of Mario Morquencho, the city is an urban plan or the dream of a community to live in an order where no one can get lost. The city through Ciudadelirio is a labyrinthine map of emotions and visions, a new geography intimate, schizo, reinvented to form part of a new experience, not only through vision or merely contemplative everyday, but to merge with atmosphere pop, mix your skin with the skin of what is so great as a monster that can swallow us and drive us into a corner, empty night. And when this monster, this leviathan of infinite walls with their jaws appears cement poetry appears as the only redeeming to reconfigure the city and re join the chaos, smoke, desperation, violence, cross the river where dreams million people in a poetic landscape.
What could drive a poet to write about the city? Nearly forty years ago, there appeared a collection of poems that marked a major milestone in Peruvian poetry, and also introduced a new voice in a stage dominated by an inward-looking literature. On the outskirts of the World, Enrique Verástegui book appeared and the city ceased to be the same. In the solitude of a new territory, man must draw his map of life, their routes to survive in this unknown world. Oblivious attitude to adapt and follow the pace imposed by the tyranny of routine, gently drift through the monotony and boredom of alleys that lead to despair and death. The impulse that leads the poet to merge with the city, auto eject once been immersed in the miasma of the banks and emotions unrelated to reinvent every step against trafficking, the momentum is simply to choose among the infinite possibilities of reaffirming the self, is dissolved in the city to recover that I lost, return to the first voice before the pollution of his mind. You steal back his spirit to the Leviathan, the city, to live it again, knowing how terrible. The turn of the screw to survive, it is also found in the poetry of Mario.
Poetry is often a vocation, but it is also attitude. Is entering the darkest night into the labyrinth to kill the Minotaur, the beast casually looking to release the tragic fate of the impeccable views, but the trip we realized that we become or are we the Minotaur. Inexorable fate of anyone who dares to navigate the paths of poetry, that go beyond the word through it. So I enter the Ciudadelirio poetic, through the city at its most hard, through cells, dead ends, rivers of despair, minibuses that lead to nowhere, windows that open onto yourself in the grim solitude, sailing buildings as boats drunk at noon and then see them in full midnight shipwreck, encounters, which promise a dream that fades when you open the doors of the room. The chasm in a thousand versions. The man who discovered the tear, its own bleed, but that does not let that feeling of constantly walking on the edge of the cliffs, but deals
"... with the city
smoke into the sky
pregnant
basement where we play live
"
(The City, 11)
Thus ends the first poem in the book. Your invitation to departure, as this journey of Baudelaire which states: "In the deserts of boredom, an oasis of horror!". But that's why this invitation does not stop at that first initiatory vision to the monster of the city, but we placed there as accomplices, as fellow Ciudadelirio that vital experience.
CIUDADELIRIO Fernando Gonzales
Odiaga
The Paper Mario Ciudadelirio Morquencho is the emerging consciousness of a man from the provinces, psychotic stranger in this metropolis that is Lima the horrible, that of Salazar Bondy, which is: "A sweet unrest January to January and to be dying every year. " This emerging consciousness is what emerges from the apprehension and understanding of the experiences, images that are presented daily in the big city as a kind of loss, a disorder, in short, a delusion. Morquencho writes: "The Song of the fair full of provincials like me / back to my ears / like wind whistling claiming its existence"; the wind cries out its existence symbolizes the life of the provinces, wind blowing and passenger flies from the ends of the earth (hence upstart), cooling from a far place, anywhere in the world, or for example: Lima horrible.
The wind that turns singing and returning to the ears as a whistle could be that delusional consciousness we are talking about at first, then lives and consciousness that feels, "trying to balance the nostalgia / under the shade of a tree" as sung Morquencho.
In the same poem we are discussing, University Park, we read phrases like "litany of hours, expression of the cadence and rhythm tedious of the capital, or read the phrase "evening macerated" which are the same fatality rate and absurd impregnated hours during a walk in the big city, now transformed into drunkenness, calm elusive, forgotten, completing the effect with phrase "pitchers of chicha" and the park is transformed into a multifaceted view and colorful, grayscale, libation and ancient flavors. After his tour bus Morquencho returns "to resurrect my room unknown", ie back to meditation, solitude, the body itself daily in a confined space, that has the quality Morquencho be unknown, ignored. Why? Because Lima is a city \u200b\u200bwe extracted the spirit and life as a holocaust to the absurd, for crowd ten million human beings in one place sounds crazy, irrational. We can not all and sometimes they will refuse to be something, you're empty, alone and do not know who or what you are.
Back on the bus, coming home in 73, the green elephant crossing from north to south Lima, Mario Morquencho seen the faces of the beings who inhabit the metropolis, the tellers, says their states, poetically recreated and shows his poetic bus passengers, seated or standing, as another offering of delirium are faces that all the colors of "mustachioed, dozers and old green, "without a prince of princes" of "low paid workers", etc. The mere act of looking to the sensitivity awake, standing on the other, simulating the understanding that goes away and is about truth and delusion. Each face is transformed into a verbal act of the poet while still bound Chorrillos 73.
Lima itself, is seen by Mario Morquencho as a "sky pregnant with basements / where we play live." The image of the cellar in the sky is ungrammatical and contradictory, with a special meaning, which reveals what the city for the poet. Sky level on ground. Confinement and freedom in closing and infinite sky pregnant basement talking about a possibility, a hope, solitude and freedom, "play live" also leads us to the idea of \u200b\u200bfreedom. But is it not that we played in the basement as children, pregnant and heaven is nothing to the lonely woman, free, infinite, maternal, which offers "play live" as the joy and hope fullness, just there in the big city, on which sentences are extended and miseries and hardships, as well as false grandeur and glitz. There Morquencho sing the "little notes of love" floating "on the stool by the river" or "some drunken urination decadence" and because only look and listen in big cities like Lima that can take you where it is mixed delirium involuntary coprolalia beauty, grandeur and misery.
poetic imagery in his delusional Mario Lima experiential is of the highest inspiration, compassionate approach, covered with the best of the stylistic resources of our poetic tradition. The book carries a tribute to Trilce and surrealism, Adam Martin and Jorge Eduardo Eielson, among other records verbal and stylistic characteristics. There is a provision of the seventies there as urban rhythm, social protest, existentialism, comprehensiveness, and wanted Juan Ramirez Ruiz and horazerianos. But the protest Mario diluted in vision intimate and on the other side of altruism naked in a metaphysical sensibility, perhaps in a quest for a more radical hope, transcendent and powerful on the vacuum and nothingness. "When the bell rings, the yellow of the desert to be confused with the sun", ie, into nothingness and emptiness of a city abnormal, amoral, senseless, vicious, finally the light traveling in the infinite, as is the title of last poem, which is a kind of prophetic vision, a promise and a utopia, beyond death and the absurd, for those who have awakened Lima crying, says Eielson in section of the book of Mario. Surrealism and intimacy occur together in this poetry where Lima is transfigured as in a dream, has become delirious.
