saudade

Presentación roast de fiebre de fresno de john torres por lizza fernanda (luís f diaz)

2010-04-19T20:29:00.000-07:00

Presentación del poemario fiebre de fresno (terranova 2009) de john torres por la drag lizza fernanda (Dr. luis felipe diaz). jueves 15 de abril 2009 librería la tertulia. Esperabamos a luis felipe pero llego lizza con una cartera y una canción a volcar el rumbo de la noche. Pa los q no pudieron llegar, aquí está lizza con su inigualable estilo posmo-roast. La actividad contó con la participación de los Poetas Néstor Barreto, Lilliana Ramos-Collado, Jocelyn Pimentel y James R. Cantre y unas lecturas de la actriz Rosa Elena Escobar y Milaysa Ramírez.

"lizza fernanda" "John torres" "fiebre de fresno" "nestor barreto" "jocelyn pimentel" "james cantre" "rosa elena escobar" poesía teatro performance drag travesti travestismo "letras hispanas"

Fiebre de fresno en La tertulia.

2010-04-13T20:41:00.000-07:00

El jueves 15 de abril a las 700 pm se llevará a cabo la presentación del poemario Fiebre de fresno -Premio de poesía Olga Nolla 2007 del Periódico El Nuevo Día- de John Torres en La librería La Tertulia como parte de las actividades de los Jueves de Río Piedras. La actividad contará con la participación de los Poetas Néstor Barreto, Lilliana Ramos-Collado, Jocelyn Pimentel y James R. Cantre y unas lecturas de la actriz Rosa Elena Escobar y Milaysa Ramírez. Presenta el catedrático Luis Felipe Díaz. Invita Terranova Editores.

La entrada es libre de costo. Para más información anaivelisse@gmail.com

John Torres trae la claridad lírica; de éstas figuraciones, el juego y la síntesis. Pero sus poemas tienen, además, el valor de definir poéticamente todo lo que nombra.

JULIO ORTEGA

En Fiebre de fresno, el lenguaje no narra ni explica, sino que ronda -como una fiera de paso ágil y discreto- su presa: el mundo, no ya entendido como un sistema de coordenadas previsibles, sino como escenario, constantemente cambiante, del asombro, el horror, la dicha de estar vivos.

CLAUDIA MASIN

Fiebre de Fresno materializa su factura poética desde el espesor estético de una escritura equivocada. Agotado el sentido de la palabra, Torres artificia el registro de una interferencia que refracta el lenguaje en función de una resistencia: oponer el flujo siempre escurridizo de la enunciación a la posibilidad última de cualquier significación absoluta. Poesía al sesgo.

FEDERICO IRIZARRY NATAL

Estamos аnte unа reflexión ѕobre lа carencia amorosa ϲomo motor dе poеsía, quе еvoca, dеsde un minimalismo verbal, quе incide a vеces еn еl hаikú, loѕ lenguajes dе lа fíѕica ϲuántіca, dеl periodismo, dеl ϲine y dеl mіto. Εl misterioso título dеl poemario noѕ sorprende, puеs parece no tеner quе vеr ϲon еl contenido dе ѕus versos. Ѕin embargo, noѕ dа unа noticia, ѕi bіen escueta importante: tаmbién ѕe trаta dе un poemario autorreferencial, quе dе manera contenida sugiere lа pаsión dе ѕu аutor por lа poеsía, cifrada dеsde еl título еn еl deleite dе lа mаgia dеl lenguaje quе lаte еn lаs aliteraciones (fiebre/fresno) … Su lenguaje apretado, conciso, revela la solvencia expresiva de quien puede sorprendernos, tanto con imágenes insólitas como con la elocuencia del silencio.

MERCEDES LOPEZ-BARALT

actriz Rosa Elena Escobar

Foto por Herminio Rodríguez

Green Berets with a Human Face, Slavoj Žižek

2010-03-23T12:09:00.000-07:00

The victory at the Oscars of Kathryn Bigelow’s The Hurt Locker over James Cameron’s Avatar was generally perceived as a good sign of the state of things in Hollywood: a low-budget, independent film overcomes a superproduction whose technical brilliance cannot cover up the flat simplicity of its story. So Hollywood is not just a blockbuster machine, but still knows how to appreciate marginal creative efforts. Well, maybe. But it’s also the case that, with all its mystifications, Avatar clearly takes the side of those who oppose the global military-industrial complex, while The Hurt Locker presents the US army in a way which is much more finely attuned to its own public image in our time of humanitarian interventions and militaristic pacifism.

The film largely ignores the debate about the US military intervention in Iraq, and instead focuses on the daily ordeals, on and off duty, of ordinary soldiers forced to deal with danger and destruction. In pseudo-documentary style, it tells the story – or rather, a series of vignettes – of an Explosive Ordnance Disposal (EOD) squad. This choice is deeply symptomatic: although soldiers, they do not kill, but risk their lives dismantling terrorist bombs destined to kill civilians – can there be anything more sympathetic to our liberal eyes? Are our armies in the ongoing War on Terror, even when they bomb and destroy, ultimately not just such EOD squads, patiently dismantling terrorist networks in order to make the lives of civilians everywhere safer?
But there is more to the film. The Hurt Locker brought back to Hollywood the trend which also accounts for the success of two recent Israeli films about the 1982 Lebanon war, Ari Folman’s animated documentary Waltz With Bashir and Samuel Maoz’s Lebanon. Lebanon draws on Maoz’s memories of being a young soldier; most of the action claustrophobically takes place inside a tank. The movie follows four inexperienced soldiers dispatched to ‘mop up’ enemies in a Lebanese town that has already been bombarded by the Israeli air force. Interviewed at the 2009 Venice festival, Yoav Donat, one of the actors, said: ‘This is not a movie that makes you think: “I’ve just been to a movie.” This is a movie that makes you feel like you’ve been to war.’ Maoz has said his film is not a condemnation of Israel’s policies, but a personal account of what he went through: ‘The mistake I made is to call the film Lebanon because the Lebanon war is no different in its essence from any other war and for me any attempt to be political would have flattened the film.’ This is ideology at its purest: the focus on the perpetrator’s traumatic experience enables us to obliterate the entire ethico-political background of the conflict.
The Hurt Locker’s depictions of the daily horror and traumatic impact of serving in a war zone seems to put it miles apart from such sentimental celebrations of the US army’s humanitarian role as John Wayne’s infamous Green Berets. However, we should bear in mind that the terse-realistic presentation of the absurdities of war in The Hurt Locker obfuscates and thus makes acceptable the fact that its heroes are doing exactly the same job as the heroes of The Green Berets. In its very invisibility, ideology is here, more than ever: we are there, with our boys, identifying with their fear and anguish instead of questioning what they are doing there.

Slavoj Žižek

texto disponible en: http://www.lrb.co.uk/blog/2010/03/23/slavoj-zizek/green-berets-with-a-human-face/