Carlos Edmundo de Ory occasion of the death of Carlos Edmundo de Ory and as a tribute to the great writer I wanted to reflect on his work.
in Spain are not allowed rare. Or do what everyone does or does not enter the game stage. His absence away from Spain he also created a phantasmagoria of dramatic and a scenario is hardly conducive to social consideration in an era when everything invested sounded weird or crazy, far from the spirit of the Movement, the Youth Front and Elan militaristic and authoritarian society invading English. In fact, according to Arias Salgado, CEO of Information and Tourism, had received "letters of bishops and outraged parents, who branded the filopostistas of homosexuals, communists and extravagant. When no Russophile and frentepopulacheros, or were screaming that "lead to jail, insane asylum or the gallows." Even Eugenio d'Ors went on to say that the Postismo was an artistic movement that was known in Cadiz.
Carlos was a free spirit and just outside of Spain could exercise that office so rare and so worthy of freedom in times of dictatorship.
Born under the sign of Taurus in a time when Primo de Rivera descends into the underworld of the military dictatorship, Ory known after bloody riots of a Republic he was not allowed to grow and reach a tiny child. Then came the swastikas stepping on European soil and the whole world went to hell. Carlos was twenty years during the world war. Enough to become aware of the lack of realism. And he wanted to take other routes, thinking there was life on other planets literary, follow the trail they had opened with success the early twentieth century avant-garde and being himself in itself a vanguard: Postismo.
a rarity after the steamroller that is worth to exercise realism back in the fifties, associated with social criticism and the struggle against the dictatorship when not in Europe, the triumph of Sartre and Camusian ... Everything will come. His free spirit, outside mainstream schools, however, was a different course. Always a minority, always unique. Ory understand, much earlier than May 68, that the only way to fight was with the imagination and the proposed new literary. Remain untouched by the dogmas and social opinions and become a ism. There were two great spirits foreign to the imposition of the reality of time: one was the Group Song, wrote that from Córdoba extraordinary literary history. Only a few years rising from its own ashes, and finally had the consideration and historical significance at the time no one recognized. It took half a century it was claimed. And curiously a connecting element between the two, between the Postismo and Song Group, came from the hand of the painter Gines Liebana, who was a close friend of Ory, who will have a remarkable correspondence between 1967 and 1969. And so, in a letter dated August 28, 1967 Gines Liebana she tells about his novel Diary of a Madman: "I'm happy! I am my show forever. I can think of things worthy of observation, my anxieties are the swing the most beautiful demons. I am writing my novel again black teens. I found a style plasma tense and vibrant as the music of evil and the pure womb of a virgin. " The great movement
irresolute and outside Garcilaso outdated and singing virgin spring faces the sun, was the Postismo and Carlos Edmundo de Ory, an infidel, an innovator. A movement that wanted to be the quintessential literary movement. The movement of movements. This was tried in the Manifesto which appeared in La Estafeta Literaria in 1946. Signed by Ory, Son and the Florentine Chicharro Sernesi. A magazine Postismo continue the blowgun which will take a number. In this aesthetic movement would join then other writers such as Francisco Nieva, Ángel Crespo and Fernando Arrabal. But they were grown either. And by then the creative freedom was not in vogue, only literary methods and leaderships. Did not admit or new states of mind, ways of being or new aspects of nature and art, as he said Carriedo, scenic or recreational games, or a renewed greguería language, not a surrealist humor, and kindness to the imagination and the literary nonsense. But neither was allowed something to contribute in an essential way the Postismo: the study of language and the mechanisms it has for maximum expressiveness, one of the essential tools of literary. The writers were not reducible postista and paid for it with oblivion.
While at other times have claimed pure realists, however, the unclean, the rare, the states have followed their bloody night. They came to call them witches of the word. Reborn from its ashes. They were fallen angels who were betting on the resolution of squaring the language through the imagination. Ory defined it as "madness invented", and it was the oven buns. Ory
in Spain are not allowed rare. Or do what everyone does or does not enter the game stage. His absence away from Spain he also created a phantasmagoria of dramatic and a scenario is hardly conducive to social consideration in an era when everything invested sounded weird or crazy, far from the spirit of the Movement, the Youth Front and Elan militaristic and authoritarian society invading English. In fact, according to Arias Salgado, CEO of Information and Tourism, had received "letters of bishops and outraged parents, who branded the filopostistas of homosexuals, communists and extravagant. When no Russophile and frentepopulacheros, or were screaming that "lead to jail, insane asylum or the gallows." Even Eugenio d'Ors went on to say that the Postismo was an artistic movement that was known in Cadiz.
Carlos was a free spirit and just outside of Spain could exercise that office so rare and so worthy of freedom in times of dictatorship.
Born under the sign of Taurus in a time when Primo de Rivera descends into the underworld of the military dictatorship, Ory known after bloody riots of a Republic he was not allowed to grow and reach a tiny child. Then came the swastikas stepping on European soil and the whole world went to hell. Carlos was twenty years during the world war. Enough to become aware of the lack of realism. And he wanted to take other routes, thinking there was life on other planets literary, follow the trail they had opened with success the early twentieth century avant-garde and being himself in itself a vanguard: Postismo.
a rarity after the steamroller that is worth to exercise realism back in the fifties, associated with social criticism and the struggle against the dictatorship when not in Europe, the triumph of Sartre and Camusian ... Everything will come. His free spirit, outside mainstream schools, however, was a different course. Always a minority, always unique. Ory understand, much earlier than May 68, that the only way to fight was with the imagination and the proposed new literary. Remain untouched by the dogmas and social opinions and become a ism. There were two great spirits foreign to the imposition of the reality of time: one was the Group Song, wrote that from Córdoba extraordinary literary history. Only a few years rising from its own ashes, and finally had the consideration and historical significance at the time no one recognized. It took half a century it was claimed. And curiously a connecting element between the two, between the Postismo and Song Group, came from the hand of the painter Gines Liebana, who was a close friend of Ory, who will have a remarkable correspondence between 1967 and 1969. And so, in a letter dated August 28, 1967 Gines Liebana she tells about his novel Diary of a Madman: "I'm happy! I am my show forever. I can think of things worthy of observation, my anxieties are the swing the most beautiful demons. I am writing my novel again black teens. I found a style plasma tense and vibrant as the music of evil and the pure womb of a virgin. " The great movement
irresolute and outside Garcilaso outdated and singing virgin spring faces the sun, was the Postismo and Carlos Edmundo de Ory, an infidel, an innovator. A movement that wanted to be the quintessential literary movement. The movement of movements. This was tried in the Manifesto which appeared in La Estafeta Literaria in 1946. Signed by Ory, Son and the Florentine Chicharro Sernesi. A magazine Postismo continue the blowgun which will take a number. In this aesthetic movement would join then other writers such as Francisco Nieva, Ángel Crespo and Fernando Arrabal. But they were grown either. And by then the creative freedom was not in vogue, only literary methods and leaderships. Did not admit or new states of mind, ways of being or new aspects of nature and art, as he said Carriedo, scenic or recreational games, or a renewed greguería language, not a surrealist humor, and kindness to the imagination and the literary nonsense. But neither was allowed something to contribute in an essential way the Postismo: the study of language and the mechanisms it has for maximum expressiveness, one of the essential tools of literary. The writers were not reducible postista and paid for it with oblivion.
While at other times have claimed pure realists, however, the unclean, the rare, the states have followed their bloody night. They came to call them witches of the word. Reborn from its ashes. They were fallen angels who were betting on the resolution of squaring the language through the imagination. Ory defined it as "madness invented", and it was the oven buns. Ory
drop out in the Nautical School at the beginning of civil war and in 1940 wrote his first poems, Shadows and birds (1940) and Bitter Lyrics (1942). In 1945 he published a selection of poems, Verses soon and the legs of the shadow with Eduardo Chicharro. His father, Eduardo de Ory Modernist, "the only poet who had in the world," confessed Carlos, a friend of Juan Ramón Jiménez and Rubén Darío, is their spiritual guide. In Paris, his father had published in the prestigious Golden Butterfly editorial Garnier Light and Soul, becoming an active publisher of modernism and the author of fourteen books of poetry, prose and six eight anthologies. Carlos will follow the footsteps of his father and after the war decided that its scope is definitely the literature and the Nautical School. Charles wrote at the time his father: "Poor me, / always so quiet, / so thoughtful, / so sad and pale. / / (...) You will be poet / illustrious poet, / will be my magnum opus ... / and my best Laura! ". And it was.
The child who arrived from Cadiz to Madrid with her paternal fantasies and his poetry was gradually entering the language and creating a world of its own, distinct and different from the rest. But above all, a tradition that came after him, a great historical tradition: modernism, creator par excellence of two concepts: the music and language. Something that certainly was not foreign to the genius of Ory. Chicharro said of him who taught him to hate Lorca (Lorca even write the essay in 1967, in Paris, published by Éditions Universitaires) and everything that reeks of gypsy Spain, to rhetoric, rot, a whorehouse and English came from Maeztu, Zunzunegui and D'Ors, and introduced him to Dadaism, Futurism and Surrealism. All this in 44. Somehow along Chicharro Ory, etc. English embodies that spirit that comes from Ramon Gomez de la Serna and enters in Spain in the fifties and sixties with authors like Cirlot and Miguel Labordeta. But there, there is a big difference Cirlot, as he followed the path abstraction, followed Ory life.
His poetry, therefore, is born free of emotion and musicality, one of the first requirements of any major poet. The technique will emerge from the need to express music. His friend Eduardo Chicharro say of him: "I never saw a man so devilishly able to play with the most unexpected and valuable musical range as the Castilian language can wish for." And when he discovered one night in the cafe Pombo his figure clueless and out of place said: "This is a poet." He was a poet who was amazed by the reality and sought to forge in their mind and in his poetry as a language and as life in a ceremony in which they are not absent as laughter or pain, but always led by an irresistible desire to create and in permanent conflict with the play of antithetical and assimilation in the poem of the antagonistic. His vision of the radical poetic expressed in his Journal (1944-1956) when he said: "I start from the Germanic Romanticism and universal. Theoretical idea of \u200b\u200bfree-spirited and active. The desire of the infinite and eternal Sehnsucht (desire). Of eternal love and eternal love instability of earthly life. Leopardi, Novalis also. My poetry of the human man. Of nostalgia and anguish, and aspires to be heard by God. I'm all longing, loving intelligence. All Baudelaire's tenderness, all her sensuality. "
His conception of reality since then questions the model that was created around it: the reality was what he wanted to go and ultimately, a permanent strategy of questioning it. Freedom and its exercise of language make his real creation that is always born of music. In his "Sonnet paranoid" expresses a vision of that reality: "Only half the world with my ear / and a cut flower in the face / deep bass to the diamond mine / that has no root or fence. / / More I hate dim as bee / herd of some elf necromancer / peinaré Mount my back lover / and stool clamshell. " And in a letter he wrote to the poet García Nieto in his forties, before the poet's claim Oviedo it was a genius, she replied: "We're only two poets in the world."
His poetry begins a new era in 1951 with the publication of the Manifesto Introrrealista, the Dominican painter Dario Suro, which claims an art as a manifestation of the inner reality of the mysterious man from states of consciousness. It is a more humanized approach to existential instances that had been in fashion then in the post-war Europe. It is a poetry that is to close next to an exterior reality. But it differs from realism in its individual component and introspective. In both realism intended to reflect external reality or outside, the introrrealismo expressed an awareness of things, the poet will be the architect of the merger between life and poetry. Hence to say that it tended to sink in vivo. As recalled in Our Time: Poems (1951), focuses on the neurosis of the dark and mysterious and ordinary daily life, but beware, no matter the evidence, as all poetry is dark in its own plan. His poetry introrrealista will be characterized by which "combines intimately transfiguration magic idealism and the fulfillment of sensual things. " Also of fifty years of seething intrareralismo are his books of tales El Bosque (1954) and Kikiriquí-Mango. Gijón lived in show business after the war and was associated with consecrated Creative Youth, of which, however, said laughing. I even wrote on the third page of ABC. Since then you have good reception in magazines like Platero, Garcilaso, English Poetry, Hispanic American Notebooks, Snail, papers are Armadans, Index, or more rarely La Estafeta Literaria.
In 1955 he moved to Paris, where he lived until 1967, when he moved to Amiens after her divorce and there founded L'Atelier de la Poésie Ouverte which shall include as a section of the disclosure by the Maison de la Culture where he will work since then as a librarian. Has forty-four years. From 1962 is his first Aérolithes, new expression of his work ever closer to philosophy. However, his first book just hit bookstores in 1963, thanks to José Luis Prado, and Luis López Anglada. After you publish Luis Jiménez Martos in Adonais. In the year 1963 published The Sonnets and testing Camus or atheism in extremis. And in 1964 the book of accounts A display dangerous.
In Barcelona and in 1970 it was a memorable edition of his work in the care of the poet Félix Grande, Poetry 1945-1969. It is the first recognition of his work and begins to have growing interest. Later, throughout this decade and the eighties, will publish his novel Diary of a Madman (1973), which was considered a rite of passage intellectual and writer. The Swedish poet and critic Lasse Söderberg said of him following the publication of his narrative that many critics have compared to Kafka: "As the Czech author describes a symbolic world and expresses his dreams of the simplest and their most secret desires ". No But his narrative has not been studied, although his poetry. Toro-Women In Chicago Section provided what their aesthetic criteria in the field of narrative pospista and stated that the poetic and narrative fiction characters, actions and imaginary worlds is the oldest art and reaffirmed the important thing is that the characters Life and developments have created themselves, to speak and demonstrate his spiritual states and dying, at last, if that is your destination. José Luis Calvo said that Ory narratives consist of stretching to the absurd situation or anecdote "is not stigmatized" by the topic, ie rescue of life anonymous daily. But the dreamlike atmosphere He notes this in his stories that married into their world with Kafka. Music in poetry published
Wolf (1970), Technical and tears (1971), Poems 1944 (1973), Lee without fear (1976), Metanoia (1978), Energeia (1978), prohibited Flute (1979), Miserable tenderness. Shack (1981), Sonnet Live (1988). His poetry will become known to a small area of \u200b\u200bpeople, but will not then or now to be a popular poet.
Since then, no longer make compliments about his writing. Not since the early García Nieto. Nor should we forget that of Camilo Jose Cela praising him as the best poet of Spain or the world but this one of Pere Gimferrer who called it a prodigious poet and added: "One of the great contemporary English poets. Perhaps his residence abroad much of his life and because, first, ahead of his time and then took place outside of certain prevailing currents, never ran out of justice. But a poet is quite remarkable for its prodigious inventiveness of word and image and the mixture of metaphysical transcendence and a sense of humor " .
Among his latest works are melancholy Melos (1999) and Wolf Music. Collection of poems (2003). And one of the most enlightening was Journal (1944-2000), has been published in several installments, a unique aphoristic line similar to meteorites. It records the wounds of time and the rigors of living.
We are witnessing, therefore, one of the great writers of today who has left us and in which there was, as I said Rafael de Cózar, throughout his life a process in which acquired the awareness that the key the art was not so much in the poems as personal revolution that motivated them, not in the particular discourse in the attitudes. And so the language was experimenting with the alchemy of the materials of life.
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