Agonizing Sharp Pain Ear

Urondo

paranoid outcast Milonga del

seems incredible that reached

have

to blame for everything that happens

in the world, but it is.

have tried to dissuade

psychologists and sociologists of my time,

have given me a long technical reasons

made and

partly true. But

I know I am guilty of pain

here sit and scour the world for wilderness

that are emptied, he wanted to jump

as John L . Ortiz, shouting

Girondo as Oliver, but first, they won me

hand, and second, it goes well and here I

starts all over again: another suffering

pitches and resources equal to

I know well and not worth

repeat: first, not to emulate, and second, because

have to go

recognizing

I have not known

myself understood. And this is sharp as an attack

that swallows us the tongue then ask forgiveness

by bad impression, exaggerations.

PACO Urondo

Surefire Cree Drop In

Haiti for all eyes to just mourn

De René Depestre Haitian writer

This morning, a hand placed flowers in your mailbox:

is it perhaps a sun that writes

from a prison in your country?

Or is it an SOS telegram from the moon suddenly

see coming

threats of man?

Will the last tree

romantic New Zealand wants

exchange stamps with you?

Since when rain sent

encrypted messages to your friends?

may be the letter of a nightingale

need of money.

And if the anonymous letter

a crocodile, a village mayor of dark?

Or some damn letter

president for life of the republic?

Or a shark notary of a racist country?

flowers may be explosive, equipped

a wonderful mechanism of action

delayed

flowers grown in greenhouses of the Ku Klux Klan?.

The office took my

to decipher their odorous messages:

are flowers from the bottom of the sea. A smell

high tide invades my home. In signing

of seaweed. These flowers are

kissing a sea princess,

is the alphabet of life, the walrus

blood glorious blossoms.

violent is the mystery of her body when orgasm

me

projects it to the top of the plant kingdom. She

from the bottom of the water, he sends me news

herbs as innocent in the world.

gives me good morning of the first butterflies of the year,

the good morning of the first fish and first kisses

of teenagers who call for a little tenderness,

peace and dignity, with a very fresh light,

for all eyes to just mourn.

RENE Deprest: Haitian writer speaks French and English, Ruche magazine founder, who committed to the struggle against dictatorship and was an ardent activist in the blackness. The early poet was, in a sense, the prodigal child of Haitian independence in the early twentieth century. His first book of poems, Flashes (1945) and Your Blood (1946), gave a certain prestige, with only nineteen. In late 1945, he founded with some colleagues artistic avant-garde magazine, Ruche. André Breton, before returning from exile in New York, gave a series of conferences in Port au Prince, the host of these young artists from Haiti, led by Aimé Césaire to Surrealism was enormously enthusiastic, so Ruche devoted a special issue Breton, who was censured by the dictatorial police. Meanwhile, Depestre was in jail. This story caused several riots that paralyzed Haiti, the power was unstable for a few days, but then the army restored order, and Depestre was condemned to exile. Since then he joined the Negritude cultural movement, founded in Paris on the initiative of Césaire, Damas and Senghor. After this date, Depestre continued his poetic career in France with vegetation daylights (1951), translated in width (1952), and black Mineral (1957). After a brief return to Haiti, where he fled immediately pursued by the Duvalier regime, went into exile in Havana, where he taught for twenty years. While his books of poems explores the unconscious surreal (Diary of a marine animal, 1964, A Rainbow for the Christian West, 1966), his intention is clearly militant (Cantata for October, published in 1968, dedicated to death Che Guevara). René also wrote Depestre excellent prose, like Cockaigne (1973) or Hadriana in all my dreams (Renaudot Prize, 1988). His essays are clear examples of the theme of blackness (Hello and Goodbye to Negritude, followed by work identity, 1989).