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Propios como ajenos
ANTONIO CISNEROS (Lima 1942-2012) entre los numerosos premios que obtuvo están el Premio Nacional de Poesía de Perú en 1965, Casa de las Américas de Cuba en 1968, Rubén Darío en 1980, Gabriela Mistal en 2000, José Donoso en 2004, Poetas del Mundo Latino en 2009, Pablo Neruda en 2010, Sothern en 2011. En 2004 fue nombrado Caballero de la Orden de las Artes y las Letras del Gobierno francés. “Hay un elemento racional que prevalece siempre en los poemas de Cisneros, un control riguroso de la razón sobre la imaginación y las emociones, y ese es uno de los factores de la originalidad de su poesía, en un mundo, como el de la poesía de lengua española, donde la tendencia predominante es más bien la contraria. Pero el hecho de que las ideas desempeñen un papel primordial en su poesía, no ha restado a ésta ni osadía imaginativa ni ha mermado su vitalidad.” MARIO VARGAS LLOSA
320 pages, Paperback
Published September 15, 2017
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About the author
Antonio Cisneros
51 books8 followersAntonio Alfonso Cisneros Campoy was a Peruvian poet, journalist and academic. He was born in Lima on 27 December 1942 and died there of lung cancer on 6 October 2012, aged 69.
According to Alonso Rabí do Carmo, “the characteristics at the heart of Cisneros’ poetry are intertextuality and constant word-play; the simultaneous presence of the personal and the public or collective that achieves a new kind of epic discourse and dramatic harmony; the abolition of the false dichotomy between ‘pure poetry’ and ‘social poetry’ and the abandonment of any hint of provincialism or local reference, so as to situate the speaker within the poem in his own time, which provides the poetic individuality that is Cisneros’ trademark; the diverse use of the poem as a path to reflection and representation of the individual, the social and the cultural. This triad is given its own equal particularity and importance, whether addressing day-to-day experience, social relationships or historical context.”[3]
The style emerged particularly in his first poetic success, Comentarios reales de Antonio Cisneros, in which the public account of the imperial enterprise is undermined by reinterpreting it from the point of view of the subject peoples. This is signalled by the play of meaning in the word real in his title, which can signify both ‘royal’ and ‘real’; the boastful official commentary on events is counterpointed in the collection against the bare statement of the human cost. The terse and understated accounts there make their point wittily without the need of further elaboration.
The style was further elaborated in his next, equally successful collection, Canto ceremonial contra un oso hormiguero (1968); there too a growing familiarity with the new style of writing in the United States led Cisneros to experiment from then onwards with a more flowing, longer-lined poetry.
According to Alonso Rabí do Carmo, “the characteristics at the heart of Cisneros’ poetry are intertextuality and constant word-play; the simultaneous presence of the personal and the public or collective that achieves a new kind of epic discourse and dramatic harmony; the abolition of the false dichotomy between ‘pure poetry’ and ‘social poetry’ and the abandonment of any hint of provincialism or local reference, so as to situate the speaker within the poem in his own time, which provides the poetic individuality that is Cisneros’ trademark; the diverse use of the poem as a path to reflection and representation of the individual, the social and the cultural. This triad is given its own equal particularity and importance, whether addressing day-to-day experience, social relationships or historical context.”[3]
The style emerged particularly in his first poetic success, Comentarios reales de Antonio Cisneros, in which the public account of the imperial enterprise is undermined by reinterpreting it from the point of view of the subject peoples. This is signalled by the play of meaning in the word real in his title, which can signify both ‘royal’ and ‘real’; the boastful official commentary on events is counterpointed in the collection against the bare statement of the human cost. The terse and understated accounts there make their point wittily without the need of further elaboration.
The style was further elaborated in his next, equally successful collection, Canto ceremonial contra un oso hormiguero (1968); there too a growing familiarity with the new style of writing in the United States led Cisneros to experiment from then onwards with a more flowing, longer-lined poetry.
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