Javier Petit de Meurville
THE NOISE OF THE FAIR
There is something like an elementary
language, the ability to say: what I put in words exists, and what
exists can be put in words. Such confidence - that generated the classics -
excludes the moments of specular promiscuity wherein language turns upon
itself, devouring its tail. Its snake's eyes.
Carlos Barbarito has the grace (the gift?) of believing
in language. Through such belief, the
experiences that wound or seduce him are transformed into the
music of language.
'Exodios y trenes' contains twenty unexplainable moments that are
converted in effort, right and proper words, and then accede to the
poem. It is this faith or this slow exercise that has been awarded by
the National Funds of Arts through financing the present edition. To the
author, 'Exodos y Trenes' marks a retrospective between two dates:
He says to
I will step out of your gigantic shadow
like the already grown up son out of the shadow of his father
I feel I can stand on my own feet,
cut my own wood from the tree of the word, and the image teaches
the instrumentality of language.
In the distribution and collection (speaking of customs) we hear an echo
of the preferred Borges. Other echoes are explicitly acknowledged:
Pound, Byron, Raúl Gustavo Aguirre. Also the friendship with José Kozer
and the encompassing vision of Alberto Luis Ponzo in an introduction
that sets the lecture of the book within a framework of passion. Why
...in order that, when the most terrible of
all hours arrives
and in me everything will be sieved and
before the eyes of my eyes beauty may remain intact.
The confidence in language, its continued and proper instrumental use,
infrequent in the new generation on this side of the river, distances
the author from still other characteristics of his generation, as they
appear in his portraits:
It is so terrible to feel like being a kind of god
and, at the same time, an orphan with no bread and wine on the
And, by moments, estrangement lets hem say from speaking:
and not to be able to even solve the dawn.
Tired as we are of the clamour, the mutilations and the violence of
dogmas, we welcome the word that glides along with the precision of a
feline: the exact image, the tranquil appearance of a communication
without filters. Pleasant, but precisely through such comfort it often
seems as if the text murmurs, without deciding between echoes and a
Such doubt, such appearing or suffering of the reader, is the domain of
Doxa (Is there something that would not be such?)
Carlos Barbarito is a poet who is young in the way Argentine poets and
writers are young: they have to cross the
border of thirty years in order to be born (to literature).
received many awards and
distinctions from the periphery,
from the noise of the fair: the institution
Literature. Its definitive voice is somehow already there and waits...
© Javier Petit de Meurville, 1987
Exodos y trenes, Buenos
Aires, Ediciones Ultimo Reino, 1987.
Prologue by Alberto Luis Ponzo.
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