Diego Medrano Fernández (Oviedo, Spain, 1978) is a Spanish poet, narrator and regular columnist of Asturian newspaper El Comercio .
Oviedo is the capital city of the Principality of Asturias in northern Spain and the administrative and commercial centre of the region. It is also the name of the municipality that contains the city. Oviedo is located approximately 24 km (15 mi) southwest of Gijón and 23 km (14 mi) south of Avilés, both of which lie on the shoreline of the Bay of Biscay. Its proximity to the ocean causes Oviedo to have a maritime climate, in spite of it not being located on the shoreline itself.
A narrative is a report of connected events, real or imaginary, presented in a sequence of written or spoken words, or still or moving images, or both. The word derives from the Latin verb narrare, "to tell", which is derived from the adjective gnarus, "knowing" or "skilled".
A columnist is a person who writes for publication in a series, creating an article that usually offers commentary and opinions.
Begins philosophy studies in the Universidad de Oviedo, where, "after feeling like Oscar Wilde in prison", and telling himself a certain quote by Francois Mauriac -"Freedom and health are the same thing"- he soon leaves everything for the sake of his cyclopean literary vocation. "Perpetual writer, always writer", he is the heir of a tradition that combines decadence and culture in the same identity: Jean Lorrain, Charles Baudelaire, Max Jacob, Arthur Rimbaud, Emile Cioran, Louis Aragon, Louis-Ferdinand Celine, Georges Bataille among others.
Philosophy is the study of general and fundamental problems concerning matters such as existence, knowledge, values, reason, mind, and language. The term was probably coined by Pythagoras. Philosophical methods include questioning, critical discussion, rational argument, and systematic presentation. Classic philosophical questions include: Is it possible to know anything and to prove it? What is most real? Philosophers also pose more practical and concrete questions such as: Is there a best way to live? Is it better to be just or unjust? Do humans have free will?
The University of Oviedo is a public university in Asturias (Spain). It is the only university in the region. It has three campus and research centres, located in Oviedo, Gijón and Mieres.
Oscar Fingal O'Flahertie Wills Wilde was an Irish poet and playwright. After writing in different forms throughout the 1880s, he became one of London's most popular playwrights in the early 1890s. He is best remembered for his epigrams and plays, his novel The Picture of Dorian Gray, and the circumstances of his criminal conviction for homosexuality, imprisonment, and early death at age 46.
He steps into the world of literature with the book: Los héroes inutiles (The Useless Heroes) (Ellago Ediciones, 2005), a complete collection of the correspondence that he held with Spanish "damned" writer Leopoldo María Panero, that serves as a literary poetic where the author, following two well-known sentences by Charles Baudelaire, declares himself "hero" and "useless". His first poetry book, also published in 2005: El hombre entre las rocas (The Man Among the Rocks) (Arena Libros) is a sort of writing notebook in which he entwines the poetic with the narrative in a same coherent unity, similar to Jean Cocteau or René Char, where the former (poetic) is always destined to triumph over the latter (narrative).
Spain, officially the Kingdom of Spain, is a country mostly located in Europe. Its continental European territory is situated on the Iberian Peninsula. Its territory also includes two archipelagoes: the Canary Islands off the coast of Africa, and the Balearic Islands in the Mediterranean Sea. The African enclaves of Ceuta, Melilla, and Peñón de Vélez de la Gomera make Spain the only European country to have a physical border with an African country (Morocco). Several small islands in the Alboran Sea are also part of Spanish territory. The country's mainland is bordered to the south and east by the Mediterranean Sea except for a small land boundary with Gibraltar; to the north and northeast by France, Andorra, and the Bay of Biscay; and to the west and northwest by Portugal and the Atlantic Ocean.
Leopoldo María Panero was a Spanish poet, commonly placed in the Novísimos group. Panero is the archetype of a decadence as much cultivated as repudiated, but that decadence has not stopped him from being the first member of his generation in being incorporated to the classic Spanish editorial Cátedra, to have a splendid biography written by J. Benito Fernández and being included in the literary history, anthologies and academical programs.
Poetics is the theory of literary forms and literary discourse. It may refer specifically to the theory of poetry, although some speakers use the term so broadly as to denote the concept of "theory" itself.
He publishes his first novel El clítoris de Camille (Camille's Clitoris) (Seix Barral) in early 2006, a transgressive novel that is practically impossible to label or classify. This novel was surrounded in controversy for constituting the solid monologue of a decadent mentally ill writer facing a love process, a surprising novel, tinged by the use of a most peculiar and deconstructive syntax and a not less provoking language. Also in 2006, he published a book of micro-stories, Los sueños diurnos. Manual para amantes, pobres y asesinos (Daylight Dreams. Instructions for lovers, beggars and murderers) (Cahoba Narrativa) which is the sum of over three-hundred micro-stories and over six-hundred characters, filled with quotes and "illuminations", where he followed the composition processes of Robert Walser and his Mikrogramme (Micrograms).
In theatre, a monologue is a speech presented by a single character, most often to express their mental thoughts aloud, though sometimes also to directly address another character or the audience. Monologues are common across the range of dramatic media, as well as in non-dramatic media such as poetry. Monologues share much in common with several other literary devices including soliloquies, apostrophes, and asides. There are, however, distinctions between each of these devices.
In linguistics, syntax is the set of rules, principles, and processes that govern the structure of sentences in a given language, usually including word order. The term syntax is also used to refer to the study of such principles and processes. The goal of many syntacticians is to discover the syntactic rules common to all languages.
Robert Walser was a German-speaking Swiss writer.
In 2007, with La soledad no tiene edad (Loneliness Has No Age) (Septem), Diego Medrano combines extensive and short stories, the titles of which should give an accurate orientation: Bragas (Panties), Nembutal , Urinarios (Urinals), Mahou, Atapuerca , Sirenas (Sirens)... 272 pages for readers ready for everything. In 2008, Medrano returns with the poetry book Agua me falta (Got No Water) (Septem).
The Atapuerca Mountains is a karstic hill formation near the village of Atapuerca in Castile and León, northern Spain. In a still ongoing excavation campaign, rich fossil deposits and stone tool assemblages were discovered which are attributed to the earliest known hominin residents in Western Europe. This "exceptional reserve of data" has been deposited during extensive Lower Paleolithic presence, as the Atapuerca Mountains served as the preferred occupation site of Homo erectus, Homo antecessor, Homo heidelbergensis and Homo neanderthalensis communities. The earliest specimen so far unearthed and reliably dated confirm an age between 1.2 Million and 630,000 years. Some finds are exhibited in the nearby Museum of Human Evolution. The site was designated a UNESCO World Heritage Site, under the name, Archaeological Site of Atapuerca.
The first volume of his diaries, Diario del artista echado a perder (Diary Of The Wasted Artist), constitutes a convulse "Dictionary of the lousy" -dozens and dozens of "damned" and "cursed" artists- with the author's own life, no less heterodox or singular.
He also published other poetry books such as: El viento muerde (The Wind Bites) and A veces cuerdo (Sometimes Sane).
Between Oficio de tinieblas 5 (Trade of Darkness 5) by Camilo José Cela –for searching a new and unruly order in literature- and the Petites Poemes en Prose (Little Poems in Prose) by Charles Baudelaire –for their poetic nature concentrated in the minimal narrative structure- comes Medrano's "El hombre entre las rocas". Between Oppium (Opium: The Diary of a Cure) by Jean Cocteau –for its attempt at a constant diary of all work- and James Joyce's Finnegans Wake –in its plausible attempt to fixate an episodic syntax, through formulas that the author plays with and is not going to give up- appears this little jewel. With the freedom of Samuel Beckett –letting the verbal river flow- and the aphasia of Louis-Ferdinand Celine –unworried about the style that his own work germinates- Medrano elaborates this little verbal artifact, without comparison in our days, the modernity of which is that of the very tradition that is assimilated – the quoted authors and many others- trying its maximum use as conscience lash and sublime purge of styles.
Camilo José Cela y Trulock, 1st Marquis of Iria Flavia was a Spanish novelist, poet, story writer and essayist associated with the Generation of '36 movement.
Le Spleen de Paris, also known as Paris Spleen or Petits Poèmes en prose, is a collection of 50 short prose poems by Charles Baudelaire. The collection was published posthumously in 1869 and is associated with literary modernism.
A diary is a record with discrete entries arranged by date reporting on what has happened over the course of a day or other period. A personal diary may include a person's experiences, thoughts, and/or feelings, excluding comments on current events outside the writer's direct experience. Someone who keeps a diary is known as a diarist. Diaries undertaken for institutional purposes play a role in many aspects of human civilization, including government records, business ledgers, and military records. In British English, the word may also denote a preprinted journal format.
This poetry book is "pure linguistic fact", in what Roland Barthes could have said, or any other structuralist for that matter. On one hand, always with Barthes in mind, Medrano declares himself Barthes'subject-monster: "he who forces the loved one in a relentless net of tyrannys". On the other hand, always in the monstruous territories, the author fantasizes with all kinds of cultural references, in a novísimical or horrifying turn: poem dedicated to Mozart learning to play the piano, different approximations to Giacometti, bombings over Guernika, tributes to Capote and Michaux, fascination for Ezra Pound. In a very personal metric and rhythm, he created this "textual wakefulness", as he refers to it himself, in one of his many other fugues of other books with which he was occupied at that moment, without any other calm or polarity than to go on getting lost. Poetry book that is a book of mirrors and book of poems, that is a novel, narrativity, in a bohemian crossing of sad paintings, over any other blunt plastic. An immense "boutade", to name it El viento muerde (The Wind Bites), referring to certain verses by Lorca ("And over the slate roofs / the wind, furious, bites") when it is exactly the opposite: concept or sensation, much rather than tambourine or red moon.
With portico by Pere Gimferrer, this book of poetic aphorisms or emphatic flashes belongs to the most authentic Medrano, always in permanent crisis. The book was fully written one night (the night of the 25th to 26 May 2007), under the alchemy of the shut blinds, the shaking hands and the nerves on top. He thought of committing suicide and, with the sole purpose of avoiding it, he started writing a little poem every ten or fifteen minutes: he had the intuition that this would be the only way he could reach the dawn alive, that this and no other was the valid formula to survival. In the depths of the verb, according to Medrano, was a bear. It was a very big bear, and he would only calm down when he heard, from the author's lips, the word: "j-e-l-l-y". Beyond the bear, Medrano says, someone was snapping his fingers restlessly; probably the consequence of some strange Blues or an irreverent Jazz. Divided in episodes –like clouds or secrets in the present constellation- a woman shoved a living mouse in her vagina. Testimony of all this is recorded in this text, weird above any other condition that, in equal or very similar tuning, could stay related to other famous weirdnesses: Juego de cartas (Card Game) by Max Jacob, Cente mille millards de poems(Hundreds of Thousands of Poems) by Raymond Queneau, Libro de los agujeros (Book of the Holes) by Francisco Pino or La prosse du Transsiberien (Transiberian Prose) by Blaise Cendrars. Only for very ephemeral sane individuals.
Restless author –moreover with himself- and dense literature. Each new book by Medrano seems to be a new reason for the fire and its spigot. Extremely original voice in the contemporary literary panorama, polemic author in a tradition where heterodoxy is brought to the limit; theorist and executor of his own polarities, constant flow of books and obsessive-maniac with all sorts of literary material. Many will be surprised with this secret poetry book, among all his previous books, for which he confesses: "I've given everything here, while I was gusting and airing in a good number of other proses and dreams, personal persistent cartographies and signs that will soon see the light shining over the water of its immediate publication". Medrano's voice, metallic in all its forms, polymorphic in its expression, for better or worse, is already a sign in the midst of a lethargic society, where similar voices rise "with the safety of those who can only fear themselves", as a certain Nadal Award winner of the most suggestive, provoking and immediate Spanish narrative, said about the author. Eight years of metal in vein, blue blindness of someone who delves deeper into himself, to the point of fanaticism.
Delirious, comical, brilliant, absurd, all amalgamated in the same identity, magic and undecipherable. The story of Dante Cornellius, character obsessed with excrements and whose hair, he believes, changes color every instant, will not leave anyone indifferent. It was greeted by Pere Gimferrer, literary director of Seix Barral as a new wave of fresh wind in contemporary young narrative. Ricardo Senabre underlined the twists and turns or stylistic games of the author in the El Cultural section of El Mundo, together with his passion for the defeated of every condition, the bohemians without solution, the damned who have only themselves. "How hard it is to kill oneself when someone truly wishes to die", whispered the author in one of his many presentations, apparently exhausted. With a bit of metaliterature, a lot of tragedy, complete "esperpento", black or medranic mass and the green urine of fools, the author managed to make an endless number of critics doubt, who did not know in what limits to frame this text. "What the hell is this?", asked certain reviewers in their blinking chronicles. The madness of the text, miraculously, cannot be untied of the very madness that generates the difficult understanding of it, or at least the most visible attempt. Surprisingly, perhaps in the height of the tragedy, some have described it as "prodigious humor". Brilliant text, hallucinated, the first reference of which would be Radiguet's Le Diable au Corps (The Devil in the Flesh).
Hunger, poverty, a miserable and sleazy pension in Hortaleza Street, mysterious death threats in the dirty mirror of a ruined bathroom, a celebrated woman of the Café Gijón, Francisco Umbral, his books, his work, his thoughts... What else does a young man need to reach the artist he has inside?
Samuel Lamata arrived to Madrid to dedicate himself exclusively to writing, to triumph in literature, but specially to spy on Umbral and to turn this city into a literary character. In the sleazy pension of Hortaleza Street where he lives, before going to bed, he often repeats to himself two sentences by Witold Gombrowicz. The first: "I wasn’t anything at all, therefore I could allow myself everything". The second: "Since I practice literature I always had to destroy someone else in order to save myself". This is how his vibrating search stars, his literary search, vital search, where he, as narrator with a wide literary register (Borges, Kafka, Gómez de la Serna, etc.) tries to find the real Francisco Umbral, find out who hides behind the character of Maruja Lapoint (pseudonym that corresponds to a certain bohemian celebrity of the Café Gijón ) and, finally, try to uncover his own identity...
This book, presented by Javier Tomeo and Pere Gimferrer in Barcelona, happened to have a brilliant reception by a great number of young people. It could not be more colossal and pretentious: three-hundred microstories, each of them with their own plotlines, with over six-hundred characters. Texts that, following the turbulent path of Robert Walser's micrograms written in the Herisau and Waldeau mental hospitals, those texts that Walser used to write on any kind of surface (receipts, cards, flaps, notepads), Medrano writes constantly on napkins and compiles them all in this volume. "Tired of other genres, I was looking for something rather brief, and thus, I turned into a literary napkin machine in the worst whorehouses. I think I wrote over ten thousand, although only three hundred appear in the book. The others must have been stolen or lost. I still haven’t been able to stop", he said during the presentation. It's amazing, how many quotes he operates with in the texts: cult characters in total marginality, a revision of high culture in the worst trances. Singular and effervescent optic of the classics. All kinds of abuses, The author quoted Nijinsky that morning in full effervescence: "I want to make love to my daughter and my mother". In several shopping centers the book was being sold with a couple of extra pages, stapled, which the editorial did not commercialize. Some of the texts boiled in their daring nature. Medrano quoted a sweating Kafka: "At some point, there is no return anymore. That is the point one has to reach". The edition, impeccable, shines with several illustrations by Egon Schiele.
I don’t know what I am. I don’t know who I am. Sometimes, in rainy days, I take my shoe off and, when I press it against my ear for a while, I can talk with Jean Cocteau, Antonin Artaud or Franz Kafka. Cocteau has the voice of wet grass in spring. Kafka, nevertheless, hit by barbiturates, is almost mute, no voice at all: I’d say he is just a little feverish thread more in the nothingness. "I am what I leave on the way", I said one morning to some drunkard who looked at me with innocent animal eyes, thinking I’d try to sell him bibles or something. I used to wake up very early, I liked seeing the junkies, fucked up, give them therapeutical kisses, and dangerous kisses for the prostitutes: only the resisting ones, the ones who were not defeated by the previous night yet. Now I always wake up late. The time these stories were written (1997-2007) is the time in which I thought of myself as the greatest hurricane to hit the streets of crisis, the deep journeys of fear and the sewers of helplessness: all the alleys of madness. Still today, I believe we are only fear and sex. What is in between, if you don’t get scared, you can find it in these pages: where violence is chopped without any kind of hurry, making slices of oneself to go on living. And where the hands tremble, for being golden. And where the mirrors, so nice, only give us magnificent putrefaction.
Heterodox and caustic stories, collection of tender and intolerable guys, surrealist and hyperrealist situations... Doubts strike us with each new story we read, disconcert us because we doubt whether we should laugh or cry; because we cannot know if we are detached from these characters or they nest crouching in our soul.
Surviving can be amusing is a cocktail where sensibility, anger, prodigious observation and imagination skills, which we should gulp down in some exclusive bar in company of a werewolf.
Publius Ovidius Naso, known as Ovid in the English-speaking world, was a Roman poet who lived during the reign of Augustus. He was a contemporary of the older Virgil and Horace, with whom he is often ranked as one of the three canonical poets of Latin literature. The Imperial scholar Quintilian considered him the last of the Latin love elegists. He enjoyed enormous popularity, but, in one of the mysteries of literary history, was sent by Augustus into exile in a remote province on the Black Sea, where he remained until his death. Ovid himself attributes his exile to carmen et error, "a poem and a mistake", but his discretion in discussing the causes has resulted in much speculation among scholars.
Literary criticism is the study, evaluation, and interpretation of literature. Modern literary criticism is often influenced by literary theory, which is the philosophical discussion of literature's goals and methods. Though the two activities are closely related, literary critics are not always, and have not always been, theorists.
Roland Gérard Barthes was a French literary theorist, philosopher, critic, and semiotician. Barthes' ideas explored a diverse range of fields and he influenced the development of many schools of theory, including structuralism, semiotics, social theory, design theory, anthropology, and post-structuralism.
Michael Palmer is an American poet and translator. He attended Harvard University where he earned a BA in French and an MA in Comparative Literature. He has worked extensively with Contemporary dance for over thirty years and has collaborated with many composers and visual artists. Palmer has lived in San Francisco since 1969.
"The Death of the Author" is a 1967 essay by the French literary critic and theorist Roland Barthes (1915–80). Barthes' essay argues against traditional literary criticism's practice of incorporating the intentions and biographical context of an author in an interpretation of a text, and instead argues that writing and creator are unrelated. The title is a reference to Le Morte d'Arthur, a 15th-century compilation of smaller Arthurian legend stories, written by Sir Thomas Malory.
Ars Poetica, or "The Art of Poetry", is a poem written by Horace c. 19 BC, in which he advises poets on the art of writing poetry and drama. The Ars Poetica has "exercised a great influence in later ages on European literature, notably on French drama" and has inspired poets and authors since it was written. Although it had been familiar since the Middle Ages, it is used in literary criticism since the Renaissance.
Lewis P. Turco, is an American poet, teacher, and writer of fiction and non-fiction. Turco is an advocate for Formalist poetry in the United States.
French poetry is a category of French literature. It may include Francophone poetry composed outside France and poetry written in other languages of France.
Experimental literature refers to written work—usually fiction or poetry—that emphasizes innovation, most especially in technique.
Aaron Shurin is an American poet, essayist, and educator. Since 1999, he has co-directed the Master of Fine Arts in Writing Program at the University of San Francisco.
Mohammed Bennis in Arabic محمد بنيس is a Moroccan poet and one of the most prominent writers of modern Arabic poetry. Since the 1970s, he has enjoyed a particular status within Arab culture. Muhsin J al-Musawi states that "Bennis’ articulations tend to validate his poetry in the first place, to encapsulate the overlapping and contestation of genres in a dialectic, that takes into account power politics whose tropes are special. As a discursive threshold between Arab East and the Moroccan West, tradition and modernity, and also a site of contestation and configuration, Muhammad Bennis' self-justifications may reveal another poetic predilection, too."
Antonio Martínez Sarrión is a Spanish poet and translator.
The Mission: Memory of a Revolution, also known as The Task, is a postmodern drama by the German playwright Heiner Müller. The play was written and first published in 1979. Müller and his wife Ginka Cholakova co-directed its first theatrical production in 1980, at the intimate 'Theatre im 3.Stock' studio space of the Volksbühne in Berlin. Müller also directed a full-house production in 1982 at the Bochum Theatre in West Germany.
Iraiyaṉār Akapporuḷ, or Kaḷaviyal eṉṟa Iraiyaṉār Akapporuḷ, literally "Iraiyanar's treatise on the love-theme, called 'The study of stolen love'" is an early mediaeval work on Tamil poetics, specifically, on the literary conventions associated with the akam tradition of Tamil love poetry. The date of the work is uncertain, but it is generally taken to have been composed between the fifth and eighth centuries.
Maria Takolander, born in Melbourne in 1973, is an Australian writer. She is an Associate Professor in Creative Writing and Literary Studies at Deakin University, Geelong, Victoria.
Empire of Dreams is a postmodern book of poetry by Giannina Braschi, who is widely considered "one of the most revolutionary voices in Latin American literature today". In 1988, Empire of Dreams debuted in Spain to acclaim as El imperio de los sueños, with an English translation by Tess O'Dwyer later inaugurating the Yale Library of World Literature in Translation (1994). Composed from 1980 to 1986, this series represents the first major phase of Braschi's oeuvre: poetry written entirely in classical and modern Spanish.
John Gery is an American poet, critic, collaborative translator, and editor. He has published seven books of poetry, a critical work on the treatment of nuclear annihilation in American poetry, two co-edited volumes of literary criticism and two co-edited anthologies of contemporary poetry, as well as, a co-authored biography and guidebook on Ezra Pound's Venice.
Ali Babachahi is an Iranian poet, writer, researcher, and literary critic.