Espantapájaros: Poema no 1 de Oliverio Girondo

No se me importa un pito que las mujeres
tengan los senos como magnolias o como pasas de higo;
un cutis de durazno o de papel de lija.
Le doy una importancia igual a cero,
al hecho de que amanezcan con un aliento afrodisíaco
o con un aliento insecticida.


Soy perfectamente capaz de soportarles
una nariz que sacaría el primer premio
en una exposición de zanahorias;
¡pero eso sí! -y en esto soy irreductible
- no les perdono, bajo ningún pretexto, que no sepan volar.

Si no saben volar ¡pierden el tiempo las que pretendan seducirme!
Ésta fue -y no otra- la razón de que me enamorase,
tan locamente, de María Luisa.

¿Qué me importaban sus labios por entregas y sus encelos sulfurosos?
¿Qué me importaban sus extremidades de palmípedo
y sus miradas de pronóstico reservado?

¡María Luisa era una verdadera pluma!

Desde el amanecer volaba del dormitorio a la cocina,
volaba del comedor a la despensa.
Volando me preparaba el baño, la camisa.

Volando realizaba sus compras, sus quehaceres...
¡Con qué impaciencia yo esperaba que volviese, volando,
de algún paseo por los alrededores!

Allí lejos, perdido entre las nubes, un puntito rosado.
"¡María Luisa! ¡María Luisa!"... y a los pocos segundos,
ya me abrazaba con sus piernas de pluma,
para llevarme, volando, a cualquier parte.

Durante kilómetros de silencio planeábamos una caricia
que nos aproximaba al paraíso;
durante horas enteras nos anidábamos en una nube,
como dos ángeles, y de repente,
en tirabuzón, en hoja muerta,
el aterrizaje forzoso de un espasmo.

¡Qué delicia la de tener una mujer tan ligera...,
aunque nos haga ver, de vez en cuando, las estrellas!
¡Que voluptuosidad la de pasarse los días entre las nubes...
la de pasarse las noches de un solo vuelo!

Después de conocer una mujer etérea,
¿puede brindarnos alguna clase de atractivos una mujer terrestre?

¿Verdad que no hay diferencia sustancial
entre vivir con una vaca o con una mujer
que tenga las nalgas a setenta y ocho centímetros del suelo?

Yo, por lo menos, soy incapaz de comprender
la seducción de una mujer pedestre,
y por más empeño que ponga en concebirlo,
no me es posible ni tan siquiera imaginar
que pueda hacerse el amor más que volando.

Hölderlin

Friedrich Hölderlin

Der Gang aufs Land

An Landauer

5 10 15 20 25 30 35 40 [45] [50] [55] [60] [65] [70]

Komm! ins Offene, Freund! zwar glänzt ein Weniges heute    Nur herunter und eng schließet der Himmel uns ein. Weder die Berge sind noch aufgegangen des Waldes   Gipfel nach Wunsch und leer ruht von Gesange die Luft. Trüb ists heut, es schlummern die Gäng und die Gassen und fast will   Mir es scheinen, es sei, als in der bleiernen Zeit. Dennoch gelinget der Wunsch, Rechtglaubige zweifeln an Einer   Stunde nicht und der Lust bleibe geweihet der Tag. Denn nicht wenig erfreuet, was wir vom Himmel gewonnen,   Wenn ers weigert und doch gönnet den Kindern zulezt. Nur dass solcher Reden und auch der Schritt und der Mühe   Werth der Gewinn und ganz wahr das Ergötzliche sei. Darum hoff ich sogar, es werde, wenn das Gewünschte   Wir beginnen und erst unsere Zunge gelöst, Und gefunden das Wort, und aufgegangen das Herz ist,   Und von trunkener Stirn' höher Besinnen entspringt, Mit der unseren zugleich des Himmels Blüthe beginnen,   Und dem offenen Blik offen der Leuchtende seyn. Denn nicht Mächtiges ists, zum Leben aber gehört es,   Was wir wollen und scheinet schicklich und freudig zugleich. Aber kommen doch auch der seegenbringenden Schwalben   Immer einige noch, ehe der Sommer ins Land. Nemlich droben zu weihn bei guter Rede den Boden   Wo den Gästen das Haus baut der verständige Wirth; Daß sie kosten und schaun das Schönste, die Fülle des Landes,   Daß, wie das Herz es wünscht, offen, dem Geiste gemäß Mahl und Tanz und Gesang und Stutgards Freude gekrönt sei,   Deßhalb wollen wir heute wünschend den Hügel hinauf. Mög' ein Besseres noch das menschenfreundliche Mailicht   Drüber sprechen, von selbst bildsamen Gästen erklärt, Oder, wie sonst, wenn es andern gefällt, denn alt ist die Sitte,   Und es schauen so oft lächelnd die Götter auf uns, Möge der Zimmermann vom Gipfel des Daches den Spruch thun,   Wir, so gut es gelang, haben das Unsere gethan. Aber schön ist der Ort, wenn in Feiertagen des Frühlings   Aufgegangen das Thal, wenn vom Neckar herab, Weiden grünend und Wald und all die grünenden Bäume   Zahllos, blühend weiß, wallend in wiegender Luft, Aber mit Wölkchen bedekt an Bergen herunter der Weinstok   Dämmert und wächst und erwarmt unter dem sonnigen Duft, Schöner freilich muss es ,werden wenn Liebenden in den entgegentönt friedlich die Arme des Neckars die Insel indessen oben und der volle Saal da, da sie sinds, sie haben die Masken Abgeworfen jetzt, jetzt, jetzt ruft dass es helle werde, weder höret noch sehen Ein Strom daß nicht zu Wasser die Freude Werde, kommt ihr himmlischen Gratien und der Nahmenstag der hohen, der himmlischen Kinder sei dieser! Kommen will ich Aber fraget mich eins, was sollen Götter im Gasthaus? Dem antwortet, sie sind, wie die Liebenden, feierlich seelig,   Wohnen bräutlich sie erst nur in den Tempeln allein Aber so lange noch nach jenen genannt ist,    Werden sie nimmer und nimmer die Himmlischen uns Denn entweder es herrscht ihr Höchstes blinde gehorcht dann  Anderes Oder sie leben in Streit, der bleibt nicht oder es schwindet   Wie beim trunkenen Mahl, alles Diß auch verbeut sich selbst, auch Götter bindet ein Schiksaal   Denn die Liebenden all bindet des Lebens Gesez. Friedrich Hölderlin An den Rand der letzten Zeilen ab der Wendung: "aber fraget mich eins..." bis zum Ende des Textes hat Hölderlin notiert: Last der Freude Singen wollt ich leichten Gesang, doch nimmer gelingt mirs,   Denn es machet mein Glück nimmer die Rede mir leicht. Quelle: Hölderlin, Sämtliche Werke / Elegien und Epigramme, Hrsg.: D.E. Sattler

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Hans Magnus Enzensberger

Hans Magnus Enzensberger, Nuevos motivos por los que los poetas mienten

Ilustración  de Sam Weber

NUEVOS MOTIVOS POR LOS QUE LOS POETAS MIENTEN

Porque el instante
en que la palabra feliz
se pronuncia
no es nunca el instante de la felicidad.
Porque los labios del sediento
no hablan de sed.
Porque por boca de la clase obrera
nunca oiréis la palabra clase obrera.
Porque el desesperado
no tiene ganas de decir
"estoy desesperado".
Porque orgasmo y Orgasmo
son incompatibles.
Porque el moribundo, en lugar de decir,
"me estoy muriendo"
no emite más que un ruido sordo
que nos resulta incomprensible.
Porque los vivos
son los que rompen el tímpano de los muertos
con sus terribles noticias.
Porque las palabras acuden siempre demasiado tarde
o demasiado pronto.
Porque de hecho es otro,
siempre otro,
el que habla,
y porque aquel de quien se habla
calla.

WEITERE GRÜNDE DAFÜR, DAS DIE DICHTER LÜGEN

Weil der Augenblick,

in dem das Wort glücklich

ausgesprochen wird,

niemals der glückliche Augenblick ist.

Weil der Verdurstende seinen Durst

nicht über die Lippen bringt.

Weil im Munde der Arbeiterklasse

das Wort Arbeiterklasse nicht vorkommt.

Weil, wer verzweifelt,

nicht Lust hat, zu sagen:

»Ich bin ein Verzweifelnder. «

Weil Orgasmus und Orgasmus

nicht miteinander vereinbar sind.

Weil der Sterbende, statt zu behaupten:

»Ich sterbe jetzt« nur ein mattes Geräusch vernehmen läßt,

das wir nicht verstehen.

Weil es die Lebenden sind,

die den Toten in den Ohren liegen

mit ihren Schreckensnachrichten.

Weil die Wärter zu spät kommen,

oder zu früh.

Weil es also ein anderer ist,

immer ein anderer,

der da redet,

und weil der,

von dem da die Rede ist,

schweigt.

POR QUE OS POETAS MENTEM: MOTIVOS ADICIONAIS

Porque o momento
em que a palavra feliz 
é dita
nunca é o momento da felicidade. 
Porque o sedento não traz
aos lábios sua sede.
Porque pela boca da classe operária
não passa a expressão classe operária.
Porque quem se desespera 
não tem vontade de dizer: 
"Estou desesperado."
Porque orgasmo e orgasmo 
estão a mundos de distância. 
Porque o moribundo, em vez de declarar
"estou morrendo", estertora apenas um gemido baixo
e, para nós, incompreensível. 
Porque são os vivos
que enchem o ouvido dos mortos 
com suas notícias atrozes.
Porque as palavras sempre chegam 
tarde demais ou cedo demais. 
Porque é um outro,
sempre um outro,
quem fala
e porque
aquele de quem se fala
silencia.

(Traducción de Nelson Ascher)

Hans Magnus Enzensberger 
(Kaufbeuren, Alemania, 1929)
de El hundimiento del Titanic, (Der Untergang der Titanic), 
Eine Komödie, Versepos, 1978
Traducción de Heberto Padilla
para leer MÁS  y MÁS

Friedrich Hölderlin and the German Romanticism

Friedrich Hölderlin (1770-1843)

On March 20, 1770, major German lyric poet of Romanticism, Friedrich Hölderlin was born. Hölderlin was also an important thinker in the development of German Idealism, particularly his early association with and philosophical influence on his seminary roommates Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph Schelling. The poetry of Hölderlin, widely recognized today as one of the highest points of German literature, was little known or understood during his lifetime and was largely ignored for the rest of the 19th century.

Friedrich Hölderlin was born in Lauffen am Neckar in the Duchy of Württemberg, where he was brought up by his mother, because his father, the manager of a church estate, already died when the boy was only two years old. In 1774, Hölderlin's mother Johanna Christina Hölderlin, then aged 26, married the counselor Gock, mayor of Nürtingen, who died when he was nine. Friedrich Hölderlin was raised by his twice-widowed mother in a religious environment. After visiting school in Denkendorf and Maulbronn, Hölderlin studied theology at the Tübinger Stift, where his fellow-students included Georg Wilhelm Friedrich Hegel and Friedrich Wilhelm Joseph Schelling, who would become important figures of German idealism philosophy.

Hölderlin came to Jena in 1794, after Johann Gottlob Fichte had taken over the chair of philosophy there and whose classes Hölderlin attended eagerly. During that period, Hölderlin was a staunch supporter of the French Revolution, which was seen by many German intellectuals as a source of hope for the future. Hölderlin found a position as a private tutor. At the same time Hölderlin also met Friedrich Schiller and Johann Wolfgang Goethe and began writing his epistolary novel Hyperion, which should become his masterpiece. Hölderlin’s ethical views emphasize an understanding of life as torn between two principles: a hankering after this original unity and freedom’s desire to constantly assert itself. His novel Hyperion illustrates this struggle and how the integration of these two principles is set as a goal for life.

Hölderlin's autograph of the first 3 stanzas of
his ode "Ermunterung" ("Exhortation")

As a tutor in Frankfurt from 1796 to 1798 he fell in love with Susette Gontard, the wife of his employer. The feeling was mutual, and this relationship was the most important in Hölderlin's life, who addressed Susette in his poetry under the name of 'Diotima'. Their affair was discovered and Hölderlin was harshly dismissed. The emotional upheaval caused by the end of the impossible liaison with Susette had a detrimental effect on his health. In 1800, after his disillusionment with philosophy that led him to abandon any plans to find an academic position, he spent a year recovering in Switzerland and decided to devote the rest of his life to writing poetry. In 1802, the news of Susette’s death, however, drove him to near insanity. Meanwhile, Hölderlin had found a sinecure as court librarian in his hometown Nürtingen. Treatment enabled him to continue writing at intervals while working as a librarian in Homburg until 1807 when he became insane (though harmless).

The following year Hölderlin was discharged as incurable and given three years to live, but was taken in by the carpenter Ernst Zimmer (a cultured man, who had read Hyperion) and given a room in his house in Tübingen, which had been a tower in the old city wall, with a view across the Neckar river and meadows. Zimmer and his family cared for Hölderlin until his death in 1843. Hölderlin continued to write poetry of a simplicity and formality quite unlike what he had been writing up to 1805. As time went on he became a kind of minor tourist attraction and was visited by curious travelers and autograph-hunters. Often he would play the piano or spontaneously write short verses for such visitors, confining himself to conventional subjects such as Greece, the Seasons, or The Spirit of the Times, pure in versification but almost empty of affect, although a few of these have a piercing beauty and have been set to music by many composers.

What is all that men have done and thought over thousands of years, compared with one moment of love. But in all Nature, too, it is what is nearest to perfection, what is most divinely beautiful! There all stairs lead from the threshold of life. From there we come, to there we go. (Friedrich Hölderlin, from 'Hyperion')

At yovisto you can learn more about Friedrich Hölderlin and his philosophical thinking in the presentation of Prof. Richard Capobianco on "Heidegger on Hölderlin's 'Nature Gleaming'".



References and Further Reading:

• Friedrich Hölderlin biography at The European Graduate School
• Hölderlin in the Internet Encyclopedia of Philosophy

El Barón Rojo y su relación con Monterrey

El conde Carl Friedrich Erich Graf Von Holck nació en Monterrey el 5 de Febrero de 1886, sus padres nobles alemanes radicaban en Monterrey desde 1870, año en que aprovechando la bonanza industrial de nuestro terruño fundaron la casa Holck vigente hasta nuestros días.
El Conde Holck paso su infancia en Monterrey, pero radicaba en Alemania cuando estallo la 1ª guerra mundial, por lo que se integra como voluntario al servicio aéreo imperial alemán, donde entablaría amistad con su compañero Manfred Von Ritchtofen el que llegaría a ser el mas celebre y temido piloto de combate de esa guerra, mejor conocido como el ”Barón rojo”estas son de esas historias dignas y olvidadas por el tiempo! pero aqui la recordaremos siempre en Monterrey Antiguo.

 

The Red Baron Name Mystery:
During his brief 25-year lifetime, the German flying ace Manfred von Richthofen was never known as the “Red Baron.” That English moniker only came about later. As late as 1927, a book by Floyd Gibbons about the baron’s World War I exploits was entitled The Red Knight of Germany, not “The Red Baron.” Gibbons never uses the term “Red Baron” in his 383-page book. The nickname comes from Richthofen’s title of nobility, Freiherr, or baron. Just how and when the nickname came about is a mystery.

CHICAGO LYRICS

album: "The Chicago Transit Authority" (1969)

Introduction
Does Anybody Really Know What Time It Is?
Beginnings
Questions 67 And 68
Listen
Poem 58
South California Purples
I'm A Man
Prologue, August 29, 1968
Someday (August 29, 1968)

album: "Chicago (Chicago II)" (1970)

Movin' In
The Road
Poem For The People
In The Country
Wake Up Sunshine
Make Me Smile
So Much To Say, So Much To Give
Colour My World
Now More Than Ever
Fancy Colours
25 Or 6 To 4
Memories Of Love
It Better End Soon 1st Movement
It Better End Soon 2nd Movement
It Better End Soon 3rd Movement
It Better End Soon 4th Movement
Where Do We Go From Here?

album: "Chicago III" (1971)

Sing A Mean Tune Kid
Loneliness Is Just A Word
What Else Can I Say
I Don't Want Your Money
Flight 602
Free
At The Sunrise
Mother
Lowdown
A Hard Risin' Morning Without Breakfast
Off To Work
Fallin' Out
Dreamin' Home
Morning Blues Again
When All The Laughter Dies In Sorrow

album: "Chicago V" (1972)

A Hit By Varese
All Is Well
Now That You've Gone
Dialogue Part I
Dialogue Part II
While The City Sleeps
Saturday In The Park
State Of The Union
Goodbye
Alma Mater

album: "Chicago VI" (1973)

Critic's Choice
Just You 'N' Me
Darlin' Dear
Jenny
What's This World Comin' To
Something In This City Changes People
Hollywood
In Terms Of Two
Rediscovery
Feelin' Stronger Every Day

album: "Chicago VII" (1974)

Life Saver
Happy Man
(I've Been) Searchin' So Long
Mongonucleosis
Song Of The Evergreens
Byblos
Wishing You Were Here
Call On Me
Woman Don't Want To Love Me
Skinny Boy

album: "Chicago VIII" (1974)

Anyway You Want
Brand New Love Affair Part I And II
Never Been In Love Before
Hideaway
Till We Meet again
Harry Truman
Oh, Thank You Great Spirit
Long Time No See
Ain't It Blue?
Old Days

album: "Chicago X" (1976)

Once Or Twice
You Are On My Mind
Skin Tight
If You Leave Me Now
Together Again
Another Rainy Day In New York City
Mama Mama
Scrapbook
Gently I'll Wake You
You Get It Up
Hope For Love

album: "Chicago XI" (1977)

Mississippi Delta City Blues
Baby, What A Big Surprise
Till The End Of Time
Policeman
Take Me Back To Chicago
Vote For Me
Takin' It On Uptown
This Time
Prelude (Little One)
Little One

album: "Hot Streets" (1978)

Alive Again
The Greatest Love On Earth
Little Miss Lovin'
Hot Streets
Take A Chance
Gone Long Gone
Ain't It Time
Love Was New
No Tell Lover
Show Me The Way

album: "Chicago 13" (1979)

Street Player
Mama Take
Must Have Been Crazy
Window Dreamin'
Paradise Alley
Aloha Mama
Reruns
Loser With A Broken Heart
Life Is What It Is
Run Away

album: "Chicago XIV" (1980)

Manipulation
Upon Arrival
Song For You
Where Did The Loving Go
Birthday Boy
Hold On
Overnight Cafe
Thunder And Lightning
I'd Rather Be Rich
The American Dream

album: "Chicago 16" (1982)

What You're Missing
Waiting For You To Decide
Bad Advice
Chains
Hard To Say I'm Sorry / Get Away
Follow Me
What Can I Say
Rescue You
Love Me Tomorrow

album: "Chicago 17" (1983)

Stay The Night
We Can Stop The Hurtin'
Hard Habit To Break
Only You
Remember The Feeling
Along Comes A Woman
You're The Inspiration
Please Hold On
Prima Donna
Once In A Lifetime

album: "Chicago 18" (1986)

Niagara Falls
Forever
If She Would Have Been Faithful...
25 Or 6 To 4
Will You Still Love Me?
Over And Over
It's Alright
Nothin's Gonna Stop Us Now
I Believe
One More Day

album: "Chicago 19" (1988)

Heart In Pieces
I Don't Wanna Live Without Your Love
I Stand Up
We Can Last Forever
Come In From The Night
Look Away
What Kind Of Man Would I Be?
Runaround
You're Not Alone
Victorious

album: "Twenty 1" (1991)

Explain It To My Heart
If It Were You
You Come To My Senses
Somebody, Somewhere
What Does It Take
One From The Heart
Chasin' The Wind
God Save The Queen
Man To Woman
Only Time Can Heal The Wounded
Who Do You Love
Holdin' On

album: "Night & Day: Big Band" (1995)

Chicago
Caravan
Dream A Little Dream Of Me
Goody Goody
Moonlight Serenade
Night And Day
Blues In The Night
Sing, Sing, Sing
Sophisticated Lady
In The Mood
Don't Get Around Much Anymore
Take The "A" Train

album: "Chicago XXV: The Christmas Album" (1998)

Little Drummer Boy
God Rest Ye Merry Gentlemen
Have Yourself A Merry Little Christmas
The Christmas Song
O Come All Ye Faithful
Child's Prayer
Feliz Navidad
Santa Claus Is Coming To Town
Christmas Time Is Here
Let It Snow! Let It Snow! Let It Snow!
What Child Is This
White Christmas
Silent Night
One Little Candle

album: "Chicago XXX" (2006)

Feel
King Of Might Have Been
Caroline
Why Can't We
Love Will Come Back
Long Lost Friend
90 Degrees And Freezing
Where Were You
Already Gone
Come To Me, Do
Lovin' Chains
Better
Feel (Horn Mix)

album: "Chicago XXXII: Stone Of Sisyphus" (2008)

Stone Of Sisyphus
Bigger Than Elvis
All The Years
Mah-Jong
Sleeping In The Middle Of The Bed
Let's Take A Lifetime
The Pull
Here With Me (A Candle For The Dark)
Plaid
Cry For The Lost
The Show Must Go On
Love Is Forever[Bonus Track]

album: "Chicago XXXIII: O Christmas Three" (2011)

Wonderful Christmas Time
Rockin Around The Christmas Tree
I Saw Three Ships
Merry Christmas, Happy Holidays
What Are You Doing New Year's Eve?
It's The Most Wonderful Time Of The Year
I'll Be Home For Christmas
On The Last Night Of The Year
Merry Christmas Darling
Rockin And Rollin On Christmas Day
My Favorite Things
O Christmas Tree
Jingle Bells
Here Comes Santa Claus
Joy To The World

album: ""Now" - Chicago XXXVI" (2014)

Now
More Will Be Revealed
America
Crazy Happy
Free At Last
Love Lives On
Something's Coming, I Know
Watching All The Colors
Nice Girl
Naked In The Garden Of Allah
Another Trippy Day

other songs:

(Your Love Keeps Lifting Me) Higher And Higher
Here In My Heart[from "The Heart of Chicago 1967-1997" greatest hits album]