new book
Medanales: chronic forgetfulness, and other enigmas
Gabriel
Impaglione
introductory word ...
... On "Medanales"
A true poets are not spared criticism sex-change, also become storytellers, as if trasvistieran: a sin. This was largely in the second half of last century before postmodernism guessed that rigged the possibilities of each genre into one, which appears to be contemporary literature. Where boundaries were broken there is the possibility of confusing a territory to another, when you can be able to establish a synthesis at the level of the current circumstances. The genera formerly called "mixed"-as illegitimate, the mixture, the impure, in short, the source of all true epiphany, were called to his moment of glory. Do we have terms such as validity now old discrimination between "poetry proper" and "poetic prose", between "narrative poem" and "poetics of narrative"?
is that, paradoxically, postmodernism has returned to the classical sources in their statements, but on the practical implications thereof. Aristotle distinguished three categories of activities characteristic of man: the theoretical or contemplative, which seeks knowledge, but the poetic, whose meaning is the production of a thing, and practice, which aims to work well. The moral and ethical world is, therefore, the scope of human action. The ethics of literary postmodernism turns out to be a unique combination of these three activities that characterize man according to Aristotle, in this case the man writer, as the postmodern writer and well known covers, generating the poiesis, whose product is a thing of such literary and work well, according to its time, ethically, as dictated by the present period of thought, synthesizing the possibilities of expression in a single formula, not regimented by the former police of literary forms, that is, creating the object of poiesis with the simultaneous use of resources that were previously given exclusive property of genres.
This statement, seems easy and clearly relevant to "what everyone should do in our time, but in literary practice is more complicated than theory. We know that the practice of a literary genre-and post-modernity, this implies somewhat practical all at the same time, it is not possible by any empiricism: nothing is created out of nothing, much less a writer can be legitimized as such based on the intuition, the "enthusiasm for life" to express, but say it either, and is not a minor detail, it can not succeed in establishing a work based on knowledge of literary theory, for they are deep.
A writer, uniquely in our time, at least for us, who are his contemporaries, is a unique amalgam of all these factors, not based on an inspiration-term overthrown if any, remaining as we find it so far, but consistent with the complexity of his personal mixture, in proportions that these factors are to each other (remember: intuition, vital enthusiasm, knowledge ...) fused together to develop a formula so personal that it is inevitable to recognize it in each text. What constitutes a writer is not the sum of recognizable ingredients in his work, but the synthesis that made them all.
This is just part of that offers "Medanales" a fiction saga created by Gabriel Impaglione to transmit it in a different way, and I stress: it recognizable, not your vision of a universe that consists of a more or less successful disfigurement which surrounds us, as I write these words preliminary or the reader to read, but a universe of their own, finishing: poiesis, which was never exclusive to the poetry, has well achieved its four dimensions in this work. Has Impaglione by width, length and depth, but the author adds a fourth, which is the time, virtual time and well managed, that differed in perfectly with what the other dimensions exhibit he does intervene. The time of the universe Impaglione is as accurate as ours, so present and probable that lets you see the transformation of what initially seem to tell us their characters, from their individuality, in conceptions of universal range, it features a single time period or an exclusive. And all this, remembering that the author is also a poet and a poet of rank, in addition, through a subtlety of speech and avoids the statement referred to continually. Lacks little to attain this author to paint an entire segment of the fresh complex of our time, with the humility of low brush, that does not appeal, do not need it, to the angry red or black absolute aware that chiaroscuro show through much more, for the reader, that the most enthusiastic, but also more flawed, attempts to show the horror and beauty, and the ultimate abomination (barely mentioned in Impaglione, knowing that a hint of epiphany is just absolutely necessary.) Through the pairs of opposites, and without avoiding the blow torch on the shooting incident, the author slips crossing his own world, we recognize suspicious relations with ours. The torch used was a human survivor, who disappeared in contemporary thought. Impaglione relive it in his prose, stripped of any attributes of ingenuity, to show it as ethically appropriate, even in the stark postmodern to remove the mask to circumstances, prejudice, establishment, or traps that have managed to survive by adopting new disguises after the death of modernity, whose fictions helped so much to build. This guy is the author Gabriel revealed Impaglione, Promethean and subtle, which consumes resources to carry out many tasks as outlined in these brief digressions, even as short to review this volume. We will leave the reader the pleasant task of checking how much of the way there is in these merely approximations to a narrative that best meets required in various genres. Luis Benitez
Buenos Aires, September 2008
Cover and interior illustration: Gustavo Monforte
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