By Mario Benedetti
Edición en un solo volumen que reúne todos los poemas de Mario Benedetti publicados entre 1950 y 2001, testimonios de los angeles propia existencia del autor, engendrados con los angeles sencillez y claridad que tanto le caracterizan.
Amar, luchar, trabajar, morir, todo es motivo de poesía para Mario Benedetti. Cada pequeña situación del vivir cotidiano merece una canción, una celebración a l. a. constante sorpresa de existir. Para él, l. a. poesía no tiene sentido si no se comparte, si no se reproduce, si no fecunda.
Como es routine en las recopilaciones de l. a. poesía de Benedetti, cada volumen se abre con l. a. producción más reciente y concluye con los angeles más antigua, quizá con l. a. secreta esperanza de que el lector, al tener acceso a su obra por l. a. puerta más nueva y más cercana, se vea luego tentado a ir abriendo otras puertas, «a beneficio de inventario».
Inventario 1 integra todos los poemas publicados en libro entre 1950 y 1985:Sólo mientras tanto (1950), Poemas de l. a. oficina (1956), Poemas del hoyporhoy (1961), Noción de patria (1963), Próximo prójimo (1965), Contra los puentes levadizos (1966), A ras de sueño (1967), Quemar las naves (1969), Letras de emergencia (1973), Poemas de otros (1974), La casa y el ladrillo (1977), Cotidianas (1979), Viento del exilio (1981) y Geografías (1984).
Inventario 2 reúne todos los poemas publicados en libro entre 1986 y 1991: Preguntas al azar (1986), Yesterday y mañana (1988), Despistes y franquezas (1990) y Las soledades de Babel (1991).
Inventario 3 contiene todos los poemas publicados en libro entre 1995 y 2001: El olvido está lleno de memoria (1995), La vida ese paréntesis (1998), Rincón de Haikus (1999) y El mundo que respiro (2001).
Miguel García-Posada dijosobre Benedetti...
«Tenía Benedetti el instinto de l. a. palabra creadora, los angeles capacidad de pellizcar el alma que solo poseen los poetas mayores.»
«Benedetti period, aunque algunos se escandalicen, un machadiano del verso, que sabía que l. a. poesía se produce en el tiempo o está abocada a los angeles nada.»
«Benedetti, hay que afirmarlo de entrada, y sus versos tenían, tienen, l. a. garra de los genuinos poetas populares.»
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Extra info for A título de inventario
The waitress, who by now was rubbing paste wax into the floor, asked if he knew the landlady. Bloch nodded, but only when the waitress looked up did he say yes. A little girl ran in without closing the door. The waitress sent her back to the entryway, where she scraped her boots and, after a second reminder, shut the door. “The landlady’s kid,” explained the waitress, who took the child into the kitchen at once. When she came back, she said that a few days ago a man had wanted to see the landlady.
But in the meantime a customs guard came in and had a drink at the bar. Was the missing schoolboy back home again? the waitress asked. ” “Well, he hasn’t been gone for even two days yet,” the waitress said. ” “Anyway, he’s warmly dressed,” said the waitress. The guard agreed that, yes, he was dressed warmly. “He can’t be far,” he added. He couldn’t have got very far, the waitress repeated. Bloch noticed a dam aged set of antlers over the juke box. The waitress explained that it came from a stag that had wandered into the minefield.
Without picking up the stone, the owner answered that you could find stones like that at every step around here. Bloch said nothing. Then the owner picked up the stone, let it roll around the hollow of his hand, and set it back on the table. Finished! Bloch promptly put the stone away. In the doorway he met the two girls from the barbershop. He invited them to go with him to the other cafe. The second girl said that the juke box there didn’t have any records. Bloch asked what she meant. She told him that the records in the juke box were no good.
A título de inventario by Mario Benedetti