The author of austrian wrote, and he abandoned poetry in his summers of her early twenties. Their texts were untranslatable but Sara Medina and Ramon Mañes have finished a set disruptive
Elfriede Jelinek wrote poetry at age 20 and not do it again. His poems are a unique species in mountains in austrian Styria, where y were born. No one had been translated into Spanish and Amargord Editions has dared to do this in a book, red and more red. It is titled Poems and ir translators are Sara Medina and Ramon Mañes. Two brave because you have to be brave to bring Spanish this work steamroller.
Listen: where shouted / everything that shines / will be, tom, said young poet. It will be tom and it will be war, a call of attention to violence neat in our society. The verses are almost teenagers, Lisas Schatten (1967) and ende (1980), which appear in Poems preludian what Jelinek is still. What a madcap? “It is possible. Smart, about everything. The mission of his text is to act as a mirror,” explained translator.
And we don’t go out very handsome. Jelinek finds next to rude people. What do you find re? “I Guess that aunticity. Edges. The truth has many sides, and from shadow, light takes on volume,” respond Medina and Mañes. Their complicity must be strenuous. Are y still friends? “More than before, and better people. By sincerity. Whole months debating a word Jeli”.
Jeli, sometimes call as well. With fame of timid that you have. How did your trust? “We talk as it speaks to who you really like and admire. It is not looking like it but commitment,” says Medina. “And he was so kind that even gave us suggestions,” adds Mañes. “Is incisive, but also very sensitive. For this reason is protected under a hard shell”.
inside of anor shell, a shed on a farm where his family used to spend his summers, was detained Elfriede in her early twenties. Besieged by a mor authoritative, and by a far who lost his memory, young man wrote to ink who he was: I am giant / as a black boy with a spinning top. He spoke of his sick far, was enraged, laughed, moved from sublime to grotesque without ever taking a breath. The white of a wedding to smell of your armpits. And if it was missing, deodorant, deodorant for verse. The translators were first to use phrase “Rexona never lets you down“. “So it is. But in 60’s is a major advertiser Odorono and we liked effect: Odor-oh-no!”
“Nothing worse than a woman who wants to rewrite creation,” writes Jelinek in The pianist. And this is fragile woman and acerada that enchants from first verse of Poems. Tuning myths, eviscerates children’s stories, paraphrases songbook austrian as if reescribiera jacks, blends eroticism and violence. Her feminism is disconcerting. “Their commitment to feminism is not debatable. That does not mean to denounce participation of women in ir own submission. She flees from dogmatism wherever it comes”.
Jelinek did not attend to collect his Nobel. Withdrew his atre of Austria, when Haider entered Government. He was a writer of provinces, which left lyric for lack of space, but tore it from poet poaching and from re, he dared all. Shake. Makes a loud noise. Still doing music without organ. You just need to move tongue. Now, Spanish.
There is a video on net where a young Jelinek plays Messiaen with organ. “I listened to it when he wrote his poems,” say translators. Jelinek tap a concentrated and fast. What seems spontaneous is in control. Touch as you type, whole machine, to catch ir ideas.
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