By Pere Gimferrer
Bajo el título de Amor en vilo Pere Gimferrer ha reunido 142 textos que constituyen su primer libro de libro de poesía unique en castellano desde 1969. Fechados entre abril de 2004 y diciembre de 2005, estos poemas aparecen (salvo el que cierra el volumen) en estricto orden cronológico, y relatan una singular historia de amor cuyos antecedentes e inicios son también materia del coetáneo libro en prosa Interludio azul. El retorno al castellano, atribuible a los angeles índole misma de l. a. historia, se traduce en una evidente variedad métrica. Resonancias que ya aparecieron en l. a. anterior obra del autor (desde Góngora hasta Rubén Darío e incluso Garcilaso, a menudo en los angeles lectura que de ellos hizo los angeles generación del 27) coexisten con un mosaico de alusiones a literaturas en otras lenguas, al mundo del cine o a l. a. pintura, para relatar una historia contemporánea en una diversidad de tonos y acentos que no se adscribe a tendencia alguna. Se cumplen aquí proféticamente las palabras que Octavio Paz escribió a Gimferrer en 1968: “Dentro de 10 años será usted un hombre joven y dentro de forty un viejo, pero siempre será, estoy seguro, un poeta joven. Con esto no quiero decir un poeta imperfecto sino un poeta dueño de esa perfección que sólo lo joven tiene”.
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She was quiet most of the time, and only when she spoke of someone else’s poems did that hard edge surface. She was precise, analytical, and could be quietly devastating to another student poet. I would never have guessed that she taught her own classes at Smith College, since she did not have an encouraging warmth that prefaced her critical comments. Her remarks were distanced. 33 With Robert Lowell & His Circle Her own poems were very tightly controlled — formal, impenetrable, but without the feeling that was later to enter them.
The thesis, on Andrew Marvell’s “Thoughts in a Garden,” was already too much written about, but with the help of friends I was able to construct something barely acceptable. 3 There was no way Oberlin would give me credit for a senior year of studying with Allen Ginsberg, whose morals were considered questionable. “Modern poetry” at Oberlin had stopped at Thomas Hardy. Reluctantly, oh very reluctantly, I was forced to look around for another sin city and for another, “more acceptable” poet to whom I could apprentice myself.
This impressed me no end! It was an occasion for each of them to shine. I felt perhaps they did not talk this way when they were alone together. But here they seemed companionable, lively, interested in each other’s opinions, and also in besting each other in front of me. Ted munched a lot of shortbread. Sylvia kept pouring the tea. I was filled with the sense of all I had not read, and admired this literate, cultivated couple. After the end of that academic year, Sylvia returned to England, and we, the members of Lowell’s class, did not see her again.