Beyond the Sea, is the decline:
The figure of the city in the poetry of Joaquín Aguilar Vásquez
Quincho is one of those writers who use the potentiation language to recreate their emotions and feelings of loneliness reflections and nostalgia, the language in his poetry rises to a meta-awareness of contemplation, the sublime, is directed to an empathy that is reached in the simplicity of his figures while the depth of their expression. Although primarily directed its theme the sea, the nostalgia and longing, hints at a stormy conscience, which is aimed at the adventure, chaos, drunkenness sense and is based in the city as a symbol of reality perceived.
The city is the main reference point for a movement that has turned in his direction, against the meaning of modernity, which in large cities, comes as the cult of innovation. Calinescu says that "as a poetic works impossibility impotence of the word failure. " (1991.291) unspeakable born as a consciousness, a struggle between sense of impotence. Joaquín Aguilar Vásquez
To experience the city was tragic from the beginning, the child was brought to the city for education, leaving home, family, the sea, remains bonded to the house that gives shelter and studied at the night school. Is in a city where Emeterio dies, her father, and can not attend the funeral because he has no money. He learns to obtain the memory, the feeling that something is overwhelming, the weight to be the distance from the beginning to acquire the artist's sensibility when it comes to the climax of his emotions. Finally this relationship disenchanted, torment, reaches its highest point, when he dies in the city of Tuxtla Gutierrez.
But this relationship with the city also brings a positive, because among this chaos is love, literature and theater, as horizons are opened for testing. There is growing as a writer. In the city is chaos that makes him recover his memories, perhaps as a result, in many cases, its poetic evocation of the sea. This explains why the city represents for the author's approach to another reality, is in itself, a reality at odds with society, that distance by the consciousness of individuality and emerges as a lifestyle.
The poem "For the long street" (2010, 45) is welcomed by his readers Quincho, a challenge to the common, reflecting the conscious artist who hesitates by the passages of the unknown, the city which torments him: " by the long street / someone walks with my feet / someone dies in the corner / someone beyond, born /. "The everyday is a reality that enslaves subtly, that becomes part of the personality and consciousness, but the artist recover known and continues: "Everything seems to run with the naturalness of the time / and sometimes stop at the corner / all seems to me like daily /" Until finally been recognized as one super-man who is capable of violating the rules, "except that a day / long street that suddenly becomes a child / I wear my steps / know their hours watches made of meat / and know all the things that I can watch it from what was / a dream and broken / then comes the night / and I tell you, they will come another day, maybe /. " So declares that embraces its role, which is ready to get lost in the maze.
The preliminary study on the work compiled by Joaquín Aguilar Vásquez At the peak of the white herons (2010) speaks of the sense that the city in the work of Quincho:
The city has a dramatic destination. His routine is a kind of prison and slave labor. Modernity is a human error in the elemental enters and pollutes the world, a message has reached the end of its values. The contemporary world becomes more artificial, less human, dispossessing its inhabitants are inwardly radically alienated society. Not inhabit the real world. In this situation, the poetry of Joaquin looking for the innocence of things and the old unit is not affected by technological developments.
"The modern world becomes more artificial, less human," that's where is the sense of the figure, a detachment of the ideal, in a vacuum. To Lipovetski (2002, 93) "modernist innovation is its alliance with the scandal and the break, so come work at odds with the harmony and sense, divorced from our family's experience of space and language "this happens when the city Quincho involves the themes of his poems, until individualized, constant of about a dimencionalización of his unconscious, where chaos is the perception to violence, noise, contact with hundreds, thousands of conscience around him and is overwhelmed. Lipovetski notes (2002, 81) "Modernism is a kind of creative self-destruction ... Modern art is not only critical age son, but the critic himself." That conscience becomes a postmodern environment is remote and stands as an observer.
But his contact with the city goes further, let it absorb for the great artistic consciousness that is in the Federal District, where he will reside with his group of Teatro Campesino. That replaces the need for modernity, the "have to be quite self" password of postmodernism, which was introduced product of "an extremist behavior that takes the logic of modernism to its outer limits ..." (2002, 105), and Quincho proposes it as a divorce between the values \u200b\u200bof the artist and the everyday world. The city is another driver of the artistic consciousness the poet, was let go by an internal search that expelled from their paradise, to the everyday and the fatuity of time city dweller. Quincho
So change their traditional values, comes an awareness syncretic between convivial and emptiness. His taste for the drink. Lipovetski indicates that postmodern consciousness is "the coexistence of opposites that characterize our times, not the alleged hipdrug-rock culture." The same author states that "postmodernism tends to affirm the balance, the human scale, the return to oneself, while it is true that coexists with hard movements (environments of vice and violence)." (2002, 93) In the Quincho particular case, the city is the representation of a commitment to abide by, that of the evocation of attitude, a self-destruction that is represented by this sign. Joaquín Aguilar Vásquez is not abiding the misery of the city, on the contrary it is assumed it goes to find a way, it shows in the poem XII of vertebrae, which speaks of the reality around him, which considers a engali that suffocates their being, which is overwhelming. And then fight: heat
if I said my previous
speeds and traffic signals
this big lie
look
if banks were measured by mass
industrial cities thus stifling monotheistic
This Honoring the critical advances, the courage of the hero, the one who sacrifices, the imposition of myth and dogma:
when man is born knowing only grows roses die
and fear of apple and continent
and castrated However
the poet is able to recover from the setback of the ordinary and dare to act ahead of his destiny:
here is my boldness
half conquered the border bridge and chiaroscuro
dubiously abide my misery. (152)
The city becomes a nightmare with no end happy, peaceful idealization of chaos, but to assume that self-imposed critical which gives a critical position for viewing. Significantly the city becomes a symbol that takes upon himself the sense of the complex. The complexity of the relationship with this element merges with the clutches, stunning. Overwhelmed the poet seeks to escape a tragedy "for the city of Mexico, which did not want to / go because he said he was going to die of cold, noise, / of crushed" (204). When it penetrates, chokes, the city continues to signify as torture: "there is no city farewells, no carriage returns at high speed" (2002, 193). The city is equal to the loneliness, emptiness and loss of a bet as in "Sonnet to does not enter the city "(179): I do not dwell
city. No. I realize.
And I realize that I'm a little
Light. City not focus
habit and whose dark, as light
me thirsty, my silence (which I directed
to light, the voices that play
step of my blood and my crazy
keep my sadness and bone)
This loneliness is transformed into stunning, nostalgia, a memory that constantly evokes the sea, even in the city, discovering the natural paradise lost and the artificial paradise that survives. Finally, the figure of the city is critical as opposed to the sea, as a reference scenario, which can dispensed at the expense of returning to the past (237 and 273): Garza
life wanting to nest in the wind
pelican carefree love my suffering
a hammock to rest in the afternoon and flock Seduce
nostalgia sea alárgame more sympathy
the Coffee
bustling city and call me shrimp from the back of the restaurant and win
give me a woman and mourn
or be a swordfish in the peace conference
madness is more hunger and sadness and unparalleled
I prefer bags without my rain and my swamp.
"rural minute" is an example of how barbecue is also the symbol of a city in metonymy. Recurrent the sea, the city and its meaning, is the decree of separation of memory:
3
City that puts you right in the waist of this rural
of ripe lemons minutes for your patio. Moment
has broken his silence with all eyes tour.
That is behind us,
the other side of this noise and this road.
Beyond this,
where your path with their dust.
Where are your sandals and your hat.
The city is the representation of the real world, the world must be found to go on an adventure in search of stories: "I'm wilderness and solitude and field / And I'm singing with you yesterday bird song / city outside. "(348) is his way of surviving the chaos regime, the dream, the return to the memory as seen in" another poem Isolde "(214)
smiling as I remember in my
eyes (from the air in my eyes)
sometimes cried this fucking world you said
were friends and I talked to your children
I remember once I told you I love your smile
and opened as a scenic
but we knew the course of our sorrows in our climate on
words
remember one day wanted to overturn your desk at work and send
the devil and the whole city papers
gave you a look like a hug
I remember going to your house
we were recommending books over coffee
The relationship with the city is qualified in its close encounter with sobriety, with times significant peace, which he kept for himself as a recollection, as an evocation with which to approach the lost. Finally find a way to deal with the chaos. Out the experiment know everyday for what is inserted into your inner consciousness in search of something profound to grasp:
I'm going outside to walk every morning every afternoon
the yard of my house while it is October
I was back home and write
and while it's October and the memory
write me back my house with its courtyard
and I walk every morning every afternoon
each lemon scent
each bird every look every look
father
mother every look
brother and I sit
song somewhere in a city with all its noise and metal but I'm
while walking through October is my backyard lemon
bird bird
my house your old door and my dog \u200b\u200b
home and I have my dog \u200b\u200b
CIENMIL steps
dust and I have the path and vereda
y cienmil pájaros tengo
mientras es octubre
Finalmente, es interesante la conjunción de significados simbólicos que se da como producto de la fusión de elementos ciudad-mar. La ciudad es el reflejo de esa conciencia desencantada, “posmodernista”, fatalidad y vacío, encuentro consigo mismo (abrumado o sobrio), solitario. En su evocación del mar, él mismo es el mar. El estero es su equilibrio con el caos, del que sirve en la embriaguez producto de la saturación del sentido y del mundo. Emborracharse es el regreso al mar. En el Mar renace. En la ciudad se gasta esa vida que le queda.
