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Fecundo como los insectos
88 pages, Unknown Binding
Published January 1, 2020
About the author
Paulo Leminski
53 books154 followersPaulo Leminski Filho (Curitiba, August 24, 1944 – Curitiba, June 7, 1989) was a Brazilian poet and writer. He took pride in being of mixed Polish and African descent.
His first small-press collection came out in the late 1970s. Although he never finished college, by the 1980s he knew Japanese, French, and English well enough to do translations. His most noted renderings are of Alfred Jarry, James Joyce, John Fante, John Lennon, Samuel Beckett, and Yukio Mishima. He also helped to produce a number of albums and was said to have taught judo.
Leminski was a prolific poet, wrote experimental prose / essays, occasionally wrote songs, and was a cultural agitator. He was the leading voice of his generation, having followed different paths of Brazilian lyric from the early 1960s through the late 1980s. His style of poetry has been compared to that of American poet e. e. cummings (song writer / singer Luciana Souza on the Tom Schanbel show on KCRW 89.9 fm 06/24/2009). He contributed to the journal Invenção, while still a teen and would maintain a strong sense of visuality and layout in his poetic output. Some of Leminski's poetry of the late 1970s/early 1980s has been linked to the controversial labe of poesia marginal. But his dedication to resolution in language set him apart. His collections Caprichos & Relaxos (1983) and Distraídos venceremos (1987) are landmarks. In the latter, his rigor and intertextual urges are clear. A neo-baroque narrative, Catatau (1975), has become a cult book. His home town Curitiba has sponsored a yearly celebration of his legacy and cultural vibrancy in Brazil. The event's name Perhappiness is taken from a one-liner by the poet.
His first small-press collection came out in the late 1970s. Although he never finished college, by the 1980s he knew Japanese, French, and English well enough to do translations. His most noted renderings are of Alfred Jarry, James Joyce, John Fante, John Lennon, Samuel Beckett, and Yukio Mishima. He also helped to produce a number of albums and was said to have taught judo.
Leminski was a prolific poet, wrote experimental prose / essays, occasionally wrote songs, and was a cultural agitator. He was the leading voice of his generation, having followed different paths of Brazilian lyric from the early 1960s through the late 1980s. His style of poetry has been compared to that of American poet e. e. cummings (song writer / singer Luciana Souza on the Tom Schanbel show on KCRW 89.9 fm 06/24/2009). He contributed to the journal Invenção, while still a teen and would maintain a strong sense of visuality and layout in his poetic output. Some of Leminski's poetry of the late 1970s/early 1980s has been linked to the controversial labe of poesia marginal. But his dedication to resolution in language set him apart. His collections Caprichos & Relaxos (1983) and Distraídos venceremos (1987) are landmarks. In the latter, his rigor and intertextual urges are clear. A neo-baroque narrative, Catatau (1975), has become a cult book. His home town Curitiba has sponsored a yearly celebration of his legacy and cultural vibrancy in Brazil. The event's name Perhappiness is taken from a one-liner by the poet.
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Displaying 1 of 1 review
February 25, 2021
un dios también es el viento
solo se ve en sus efectos
árboles en pánico
banderas
agua trémula
navíos al zarpar
me enseña
a sufrir sin ser visto
a gozar en silencio
mi propio pasar
nunca dos veces
para el mismo lugar
a este dios
que levanta el polvo de los caminos
llevándolo a volar
consagro este suspiro
en él crezca
hasta volverse vendaval
_ _ _
(...)
¡la guerrilla de los signos!
las batallas nunca son decisivas
las victorias son confusas
cf. Peirce
signos generan signos: por bipartición, por hibridismo, por mutación
prolíficos
promiscuos
fecundos como los insectos
(...)
es necesario dejar que la Historia te alcance
choque contra ti
te llame te elija te corteje
te envuelva y te comprometa
—Fragmento: "carta 9"
_ _ _
incluso
en la edad
de cambiar
yo mismo
aun
confundo
felicidad
con este
nerviosismo
_ _ _
El mínimo del máximo
Tiempo lento,
espacio rápido,
cuanto más pienso,
menos capto.
Si no agarro eso
que me pasa en lo íntimo,
¿importa mucho?
Rapto el ritmo.
Espaciotiempo ávido,
lento espaciodentro,
cuando me acerco,
simplemente me deshago,
apenas el mínimo
en materia de máximo.
_ _ _
Mediodía tres colores
yo dije viento
y cayeron todas las flores
_ _ _
Sombras
derrumban
sombras
cuando la treva
está madura
sombras
el viento lleva
sombra
ninguna
dura
solo se ve en sus efectos
árboles en pánico
banderas
agua trémula
navíos al zarpar
me enseña
a sufrir sin ser visto
a gozar en silencio
mi propio pasar
nunca dos veces
para el mismo lugar
a este dios
que levanta el polvo de los caminos
llevándolo a volar
consagro este suspiro
en él crezca
hasta volverse vendaval
_ _ _
(...)
¡la guerrilla de los signos!
las batallas nunca son decisivas
las victorias son confusas
cf. Peirce
signos generan signos: por bipartición, por hibridismo, por mutación
prolíficos
promiscuos
fecundos como los insectos
(...)
es necesario dejar que la Historia te alcance
choque contra ti
te llame te elija te corteje
te envuelva y te comprometa
—Fragmento: "carta 9"
_ _ _
incluso
en la edad
de cambiar
yo mismo
aun
confundo
felicidad
con este
nerviosismo
_ _ _
El mínimo del máximo
Tiempo lento,
espacio rápido,
cuanto más pienso,
menos capto.
Si no agarro eso
que me pasa en lo íntimo,
¿importa mucho?
Rapto el ritmo.
Espaciotiempo ávido,
lento espaciodentro,
cuando me acerco,
simplemente me deshago,
apenas el mínimo
en materia de máximo.
_ _ _
Mediodía tres colores
yo dije viento
y cayeron todas las flores
_ _ _
Sombras
derrumban
sombras
cuando la treva
está madura
sombras
el viento lleva
sombra
ninguna
dura
Displaying 1 of 1 review