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Sete Pragas Depois
Primeira publicação brasileira do poeta peruano, em uma antologia organizada por Carlito Azevedo e Aníbal Cristobo. A edição, cujo título remete a uma antologia portuguesa de Paul Celan (Sete rosas depois), reúne poemas dos principais livros publicados pelo autor de Comentários reais (1964) a As imensas perguntas celestes (1992). Inclui, ainda, o prefácio inédito "Poesia, uma história de loucos", itinerário biográfico no qual o poeta contempla da publicação de seu primeiro livro, Desterro, em 1961, aos lugares onde morou: Londres, Niza (Itália), Budapeste, Califórnia, Berlim, além de sua vida em Lima, onde atualmente é jornalista.
Já traduzida para 14 línguas, sua poesia alia a mais alta preocupação política ao registro sensível dos acontecimentos da vida comum. O conjunto da obra recebeu, em 2000, o importante Prêmio Interamericano de Cultura Gabriela Mistral, concedido pela OEA (Organização dos Estados Americanos).
Já traduzida para 14 línguas, sua poesia alia a mais alta preocupação política ao registro sensível dos acontecimentos da vida comum. O conjunto da obra recebeu, em 2000, o importante Prêmio Interamericano de Cultura Gabriela Mistral, concedido pela OEA (Organização dos Estados Americanos).
306 pages, Hardcover
Published January 1, 2003
5 people want to read
About the author
Antonio Cisneros
50 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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