Mundo Checo

Vasko Popa o la poesía como enigma

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El cansancio ajeno. Poesía completa

Vasko Popa

Traducción: Dubravka Sužnjević

Madrid-México, Vaso Roto Ediciones, 2012

La publicación por parte de Vaso Roto de El cansancio ajeno viene a paliar una de las ausencias fundamentales en la poesía de Europa Central y del Este traducida al español: el serbocroata Vasko Popa (1922-1991), considerado por Ted Hughes como una de las figuras claves de la primera generación de poetas que inició su carrera literaria inmediatamente después del fin de la segunda Guerra Mundial. Esta «generación» no deja de constituir un término paraguas para un grupo variopinto que abarca poéticas tan heterogéneas como la de Z. Herbert, T. Różewicz, M. Holub, Y. Amijai o W. Szymborska, por citar a algunas de sus figuras más destacadas. Sin embargo, es cierto que los une algo más que una mera coincidencia espacio-temporal o un cierto aire de familia achacable a la coyuntura histórica y socio-política: la conciencia de que el ser humano se encuentra, inexorablemente, a merced de los bandazos de la Historia con mayúsculas, entretenida en juguetear con los destinos individuales, con las historias en minúsculas; y el coraje de no sucumbir al cinismo a pesar de esa certidumbre.

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“Forgetfulness heals everything and song is the most beautiful manner of forgetting, for in song man feels only what he loves.”
— Ivo Andrić - The Bridge on the Drina

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Forgetfulness heals everything and song is the most beautiful manner of forgetting, for in song man feels only what he loves.

— Ivo Andrić - The Bridge on the Drina

(Source: drsko)

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Roman Vishniac
En el barrio judío, Bratislava, ca. 1935–38 © Mara Vishniac Kohn Courtesy International Center of Photography

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Roman Vishniac

En el barrio judío, Bratislava, ca. 1935–38
© Mara Vishniac Kohn
Courtesy International Center of Photography

(Source: tytusjaneta)

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Image: Rossums Universal Robots, Karel Capek, 1920.
Rob Horning reviews Illah Reza Nourbakhsh’s study of the role of robots in popular culture, Robot Futures:
In Robot Futures, Illah Reza Nourbakhsh, a professor of robotics at Carnegie Mellon University, tries to complicate our ideas about our robot helpers. As robotic technology develops and insinuates itself further into everyday life, what counts as a robot is becoming more slippery, drifting further away from the C-3POs and the Twikis and the other box-of-bolts robot buddies of science fiction. Is a garage-door opener a robot? Do they have to be self-propelling? (A Roomba seems far more robotic than a laptop, but a laptop is far more useful.) Must a robot think “for itself,” as if it actually has a “self”? Do they even have to be machines at all? Do I become a robot when I use my smartphone? 
Do you read me, HAL?

veyabrelapuerta:

Image: Rossums Universal Robots, Karel Capek, 1920.

Rob Horning reviews Illah Reza Nourbakhsh’s study of the role of robots in popular culture, Robot Futures:

In Robot Futures, Illah Reza Nourbakhsh, a professor of robotics at Carnegie Mellon University, tries to complicate our ideas about our robot helpers. As robotic technology develops and insinuates itself further into everyday life, what counts as a robot is becoming more slippery, drifting further away from the C-3POs and the Twikis and the other box-of-bolts robot buddies of science fiction. Is a garage-door opener a robot? Do they have to be self-propelling? (A Roomba seems far more robotic than a laptop, but a laptop is far more useful.) Must a robot think “for itself,” as if it actually has a “self”? Do they even have to be machines at all? Do I become a robot when I use my smartphone?

Do you read me, HAL?

(Source: lareviewofbooks)

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“I realised the amazing power of literature and of the human imagination generally: to make the dead live and to stop the living from dying.”
 ― Ivan Klíma, Love and Garbage

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“I realised the amazing power of literature and of the human imagination generally: to make the dead live and to stop the living from dying.”


Ivan Klíma, Love and Garbage

(Source: vintageanchorbooks)

Hace 91 años que nació la poetisa Vesna Parun
Ne pitaj više zašto te ljubim. Pitajzašto raste trava i zašto je nemirno more.Pitaj otkud stiže vjetar proljetnii bijelom lađom snova tko krmanikad noć nad svijetom hladne prostre sjene.
Ne pitaj zašto te voli moje čudno srce.Znaš li odakle koralj na dnu oceana?Valovi pričaju o zaspaloj ljepotiali ti živiš daleko od glasa valova.Tvoja je misao strma pećinao koju se uzalud razbija moj život.
Ne pitaj zašto te ljubim.Pristupi k meni! Tužno je moje srce.Ti i mjesec: dva nedohvatna cvijetana visokoj planini zaborava.

Hace 91 años que nació la poetisa Vesna Parun

Ne pitaj više zašto te ljubim. Pitaj
zašto raste trava i zašto je nemirno more.
Pitaj otkud stiže vjetar proljetni
i bijelom lađom snova tko krmani
kad noć nad svijetom hladne prostre sjene.

Ne pitaj zašto te voli moje čudno srce.
Znaš li odakle koralj na dnu oceana?
Valovi pričaju o zaspaloj ljepoti
ali ti živiš daleko od glasa valova.
Tvoja je misao strma pećina
o koju se uzalud razbija moj život.

Ne pitaj zašto te ljubim.
Pristupi k meni! Tužno je moje srce.
Ti i mjesec: dva nedohvatna cvijeta
na visokoj planini zaborava.

Arco cafe in Prague - Kafka used to go there
Designed by the architect Jan Kotěra. Here Kafka met for the first time Milena Jesenská. It also was a place where Lenka Reinerová used to go.

Arco cafe in Prague - Kafka used to go there

Designed by the architect Jan Kotěra. Here Kafka met for the first time Milena Jesenská. It also was a place where Lenka Reinerová used to go.

(Source: lostandfoundinprague, via veyabrelapuerta)

Z Kavárny nad Prahou se neozývá žádná odpověď. Nad prázdnými šálky se po sobě jen mlčky dívají. Mistrům slova chybějí slova.

Z Kavárny nad Prahou se neozývá žádná odpověď. Nad prázdnými šálky se po sobě jen mlčky dívají. Mistrům slova chybějí slova.

Si no fuera por las letras en cirílico, diría que es una foto de Norman Rockwell

Si no fuera por las letras en cirílico, diría que es una foto de Norman Rockwell

(Source: nikkor, via veyabrelapuerta)