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PAIN AND PLEASURE OF THE MASTER ELIAS


Selection, compilation and review of Bustamante Gerardo Bermúdez, the work "of pain and pleasure" adds the poet Elias Nandino interviews conducted between 1954 and 1993. It is a book published by the Autonomous University of Mexico City and the Ministry of Culture of the Federal District Government rescues testimony of one of the key poets of the English language, a necessary job for Elias Nandino approach in a work whose design belongs to the Mexican artist Gabriela Oliva, with great cover of Elvira Lemus Wen excellent edition Estrada and Gustavo Martinez care. I finished reading this book in my writing workshop here in Chile and was accurate judgments about their interest in reading poetry Elijah know Nandino and, likewise, explore contemporary literary group in the twentieth century was influential from Mexico to the Americas, say absolutely valid. The scholarly introduction "When you talk about poetry is born ..." Bustamante Gerardo Bermúdez, retrieves the work approaches the poet who had great writers like Sergio Magaña and Juan Cervera, critics and writers such as Teresa Castro, Lilia Martínez Aguayo, Leopoldo Ayala , Miguel Angel Morales, Bruce Swansey, Sandro Cohen, Gonzalo Valdés Medellín, Gregory Monge, Carlos A. Cruz, Gloria Velazquez Gerardo Ochoa Sandy, Salvador Encarnacion, Arturo Alcántara Flores, Ana Maria Longi, Oscar Trejo Zaragoza, Cesar Guemes, Carmen García Bermejo, Juan María Navjea and Edgar Mendoza, Gabriela Gutierrez Lopez, Santiago Espinosa de los Monteros, Eduardo Castillo and Andres Kroepfly. Also included is an interview I conducted the poet Nandino for Vogue magazine in January 1983 and a vision of him who offered me several years of often public in June 1987 on Mexico's daily Unomásuno. I say now to reread my humble testimony to the poet, whose humility made him a man of great virtue, I was excited because I took a time of my life when living in Mexico more than a few times until I crossed the high Cocula Jalisco, where the master Elijah Nandino always got me home with the doors open, as usual with those who approach him. In a reading I did in the Convento del Carmen Guadalajara presented me with rave reviews so far encouraged my work and I could see every time I went to Mexico City, where he was staying home theater director Xavier Rojas, who I also gave a warm friendship. So, go to honor the memory of friendship that has turned my heart in Mexico playing here in my testimony about the teacher who has rescued Elijah Nandino this work, "De pains and pleasures."
Waldemar Verdugo. Chilean writer

Links Waldemar Verdugo. google0cee19fffd6b410b.html

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NANDINA ELIAS:
"Before I burned on the burning bodies.
Now in my eighty years, I burn on my blazing memories and
ruined in this hell I'm still creating my poetry. "

What exactly is the popular term "Mexican poetry"?. That "written by Mexican or poetry that reflects the spirit, reality and inspiration the character that carries the name "Mexico"?. A common language to the people of the Americas and Spain for such dubious excuse of "Mexican. Perhaps "The Labyrinth of Solitude" by Octavio Paz, Mexico is a very caught up in an attempt to test the spirit of a people, so magically portrayed in the prose of the master Juan Rulfo. However, one of the characteristics that place both writers against international criticism definidísima personality of their respective works, which finds no parallel among his contemporaries. In other words, we must conclude that his difference from the other writers of the country is what makes them "as" Mexicans. Then, Rulfo and Peace each in its creative line-give it a stamp that is written in Mexico rather than similarity, and the difference is his personal artistic vision, the sister with the great artists of our time, always immersed in the tide which rises majestically our English language, our own contemporaries, we really are all that we live does not deny the reality of a tradition or inspiration from the behavior of people, but through the breath of the artist, said that the art as a universal spirit guide, that addresses the literary theme in its inspiration themes having to do with us.
And if a poet in Mexico, which achieved this rescue of breath, that poet is Elijah Nandino. Whose work is desolate edge of consciousness, in the midst of endless night, questions the pain of the world. And it is but an echo of her question. " (According to "Poetry in Motion", ed. Siglo XXI, p.312. Authors: Octavio Paz, Alí \u200b\u200bChumbley, Jose Emilio Pacheco and Homero Aridjis). Elijah reflecting Nandino is the echo of the rich generation of writers that began in the late nineteenth century in Latin America, the generation that suggests that there is no poetry Venezuelan, Mexican or Chilean, but there is a universal poetry. A universal tradition and a poetic style which asserts that our national literary histories are as artificial as our political boundaries. Therefore, the work of Juan Rulfo, Paz or Nandino complicit in something higher, is part of a higher value: the art of writing in English.

first thing that touched me to know the work of Nandino was the honesty that runs through every page. And that's what one feels when facing old poet: his sincere character, warmth, tenderness and a feeling that envelops everything around it. I've seen several times in Mexico City and there in Cocula, in the highlands of Jalisco, where he lives and teaches how to live. Because life is the great theme of his work. Redeemed by his poetry Nandino footprint pains in his life have left the moral storm. In the preface to one of his books, Xavier Villaurrutia portrays him as well:
"I can imagine, the day thought, detaching oneself with infinite precautions, clear and cold, listening to their own burning log, follow the irregularity of its heart, exposing the deep layers of the land of his body, and explore the ancient caves of the breast to extract from the intricate folds of the neural network, the lighter birds and marine life that man has been hiding in man (1934, excerpt). There
Nandino in the work of a profound romantic root, which is seen in its essence constants: solemnity, grief, intimacy, passion and anguish color. Romanticism in its early years assimilated and enriched with the forward and backward uncertainty that descends and departs, which at maturity is nurtured by restlessness and rectified, to resurface the skin to change the look lucid and coated brighter seriously. He knows that the path runs true to our inner man inside, so it is a true romantic poet, also reveals in his conception of the universe, the idea of \u200b\u200bhim is not named. It says in Sonnet 10 of his book "Wreck of the doubt"
"I believe in God but certainly the brain, because it lacks the momentum of the idea, to be imposed the hectic task of shaping the naked truth. In vain the silent stalking and ties the spasm of light that hovers, because the face anointed his desire shapes in shades its outline shields. A stopped crying spells clots in my eyes, and decide to kill impulses and become blind, but deep in my own life, inside my voice silenced, talk alone with the God who refuse. "
At home in high Cocula, some weekend when I stayed, when I became one more repeat that Dr. Nandino is friends with his friends, he was asked what was the main source of inspiration, and his poems which is now more identified, said: "Eros
has been my inspiration. Since I deal with God, the stars, life, death, love, sorrow or joy, I looked around my mouth erotic lyricism. Christ on the cross, a San Sebastián wounded, the button of a flower, a dying man, a horse to run free in the field and I saw a star from heaven, were worth to me as the intensity to give them my eroticism edge. Goethe said: "When you write something, always do what you know." The only thing I know life is sexual. I was born with the century, and now I can not make physical love ... but I can do with his eyes. You ask about a poem that identifies me, and I think all the work should identify the work of a writer, but apparently that's left are remnants of life, parts of things, bits of emotions, I have a poem called "I was so attached, which reads: I do not care

how to judge my life I tried to live

strictly
doing what she wanted.
There was no desire or whim

temptation that does not conduct effective
with care.
And whatever it was time to fulfill

transformed him into reverie. For it was lewd

and have not stopped
pure or a pore of my body. I was so attached


the excesses of his carnal orgy
that my eighty
two years of hell in ruins
am still creating my poetry.

The erotic feeling of life in Elijah Nandino comes from some ancient Eastern schools: those who use their training in the skills of Tantric Yoga, a secret wisdom that seeks the Unmentionable through the use of the physical body. Nandino Elijah sees the universe as a duality: what is dream and what is lived, and that is their meeting point in an evolutionary unit. Although his position is that man is the center of everything, the space of this dynamic universe, acknowledging that in truth we are only a fraction of incorporation. He sees the man as a rhythmic Reproduction of throbbing that nests in the mystery. This hunch that runs from outside to inside, the force that maintains continuity is He who is not named:
"God is eternity, and their presence extends from heaven to my conscience, and He is All, and I part of your life ... I doubt my God, and yet I believe with the deepest depths of my mind: your almighty power that exists in everything I see invisible "(" 10 sonnets to God. ")
In all his work seems to float an initial awareness that imposes a measure of things, a march to the universe: "All press existence at birth and meets his fate and falls apart, is in the air, as the essence and rhythm of the tremor immortal, who tirelessly promotes evolution total of the Universe "(from" Eternal Circle "). The book betrays its an iron belief in the unity of living things. From time to go rolling our loneliness one day death occurs, and we'll eventually merge our essence in the great circle universal, which is the arrival of our true identity:
"Land voracious dark blessed home where the pain goes: I want to stand under your sheets of secret germ tenderness and seed which is hidden in your wet darkness resurfaces already transformed the serene bliss of a tree or in the fleeting instant of a rose, to be reborn in your womb and up the rung on the ladder of life reaching my evolution. Because I come from you, I'm mud trance, and by dint of living and dying, must come to define my essence to be in the cosmos eternal life "(from" Nostalgia of land ").
In his work, I am touched by your reference to certain torment anxious that grieve. From his early poems, from his first deep nights, Nandino questions his kingdom that seems full of shadows by repeated solitude, the poet more than anything else is a state of mind. He is a great torment, suffering from evils overwhelm him anxiously intimate, making it retreat as the sea waves, and as the sea, come back. Never gives up, not down, yet is never beaten, in some recess he found a leak of clarity, for some maze in his life filtered light. Then his solitude is not absolute, peat his enlightened inner world that is there at the surface, full of tactile references, in his first season, even anxiety. It is because the brains of his work is intimately emotional, thanks to which rescues for us, tangibly, many things we can not play. He himself says that poetry is written not with words but with dreams. Because the poems are not written, are drawn. Therefore, all his overwhelming loneliness is more than the skin of a sheet that annoying "to the lonely statue that holds me." Her singing is the hope of trascendalista. Hope not grounded in faith but in the desire to believe: "As I was already before birth. As one day somewhere, or perhaps anywhere else in another world I exist in a different body, with another name and with the same anguish "(from" Night word ").
-Master Elijah, could you locate the motivations he decided on his first literary period?

"I remember reading the poems were read in the books of my childhood years. declaimed verses at the request of my teachers for the holiday school year or for national holidays. But then not understand why or what it is writing poems. was 14 when I finished the sixth grade. A classmate lent me a book of rhymes of Gustavo Adolfo Becquer: was the first time I understood and enjoyed the poems. A few months later my sister spoiled ill and after a desperate five-day agony, he died. I witnessed everything. When he died I went to my bedroom, where Christ was a package, I stood in front of him and questioned him, accusing him of murderer. I spent the depths of the Revolution of 1910 in my country, Jalisco, where the revolutionary troops entered the other day and the feds. Once I left the priest's house where we were hiding with my family and many families, fearing the excesses of the rebels and soldiers, I went to the plaza with the intention of buying reeds when entering the park I found box-hung thick branches of tabachines-stretched over twenty-five hanged, tongues out and still faces some despair. I ran through the trees, truly transfixed with fear, I went down the right side of the kiosk when the captain gave the order to "aim, fire." I saw the jump that took a shot when he fell on his back as if to fly. The captain gave the coup de grace. I was paralyzed and I could, I was going up the side street to go to the priest's house was a block away. I arrived, and my mother, so pale and frightened me, gave me a piece of sugar alcohol and took me rest in bed. This is how I met death. While my sister was another thing: I hurt in body and soul. When she died, many days I walked the edge of town and wanting to go ... one day, at dusk, I went to the pasture of "coyotes", who was my father, and there, lying face down under a tempisque slabs and stones I was thinking, I took a notebook from my backpack and started write: "I ask you sister ..." I wrote many poems that I did not know what made the final. A few months ago I had a girlfriend named Sarah, and started writing my book "Songs." In those days was a friend of mine, Luis Sanchez, who was studying at the Seminary and was going to spend the Easter holidays. I showed him the poems he had written to my sister and "Songs", and said: "In any way possible, you have to go to Guadalajara to study high school." Indeed, a few days, we went together to care very early because the morning star and the horizon is taking off, we went to the station "La Vega" to take the train passed Ameca out there way to Guadalajara. My luggage was a bag with the mouth closed to the medium with a long shoestring. "
for Elias Nandino is located within the group of" Contemporary ". This is the last living poet of this important literary generation. Claims literary critic José Luis Martínez "Contemporary" is characterized by purely literary concerns. It was his bitter struggle to gain in depth what was once lost in extension, ie, learning to look at the bottom of ourselves to capture the minutest movements of our inner, surprising the living aspects of the idea, so that the artist can get non-stop in the faculties awake, the subconscious, leaving quiet thought, for the dream to rejoice with the hood, pink, perfume, the feast of images ... whilst the shoring unleashes a pack of instincts, on the sidewalks of hypnotic fantasy. "Contemporary" compatible sensitivity achieved with the knowledge of modern French literature: Proust, Malarmé, Valery, Cocteau ... fertilizing also the spirit of this generation of English poetry after Juan Ramon Jimenez, as well as numerous message writers grouped around the "Revista de Occidente" wonderful melting pot, not speculate and serene vision of theoretical, ontological reflection but the throbbing rainbow of life. Dealing with Elliot and Supervielle authors and works of Rilke, which revealed a pathetic way to discover our loneliness in the world, complete the reading circle in which this generation nurtured his dreams.
This inner world must, without doubt, the contempt he felt "Contemporary" by the rules of traditional poetry, with its rigid principles steadily broke the images. They faithfully expressed "its imaginative and sensual overtones, but to reach that milestone deleted the logical boundaries and syntactic links, beyond which is the formless mass, but aroma, music and light, the last and first clay the primordial arche of poetry "(Arturo Rivas Sáinz in" Phenomenology of poetry. ")
Nandino I ask the teacher what has been its most important readings, and answers: "My initial readings were very poor, perhaps the most important were those that did Becquer, as I told you. In my first time also read Manuel M. Flores and then fashion writer: Amado Nervo. Guadalajara already read all the basics of Mexican literature. When I met the "Contemporary" continued his reading. The major influence on my creation, criticism and knowledge of poetry, I received from Paul Valery. At first my poetry based on my great lyrical impulse, which then reined in reading Rimbaud, Baudelaire and the French School. Until 1947, the influences that I I discovered were those of Juan Ramón Jiménez, Pedro Salinas, and Xavier Villaurrutia inevitable, with which we were inseparable friends for twenty years, almost without letting us see every day ... Xavier Villaurrutia humanized with me accompanying me to the hospital, you know I'm a doctor, surgeon, and often sharing my time trouble to write poetry from the surgery. All the medical staff of the Hospital Juárez he had great admiration and sympathy. Xavier attended our monthly lunches held in the same hospital, in one of them read us his translation of "Address to the surgeons" of Valery. Many were the times it was to accompany me on my guard fortnightly and he, who fainted when he saw blood and fugitive from the blind because he considered a bad omen, after his frequent approaches to the truth of human suffering, completely changed, and taken to heart my professional anxieties. We were together every day. We were classmates of emotional distress and mutually aconsejábamos us. To the bodies shared ones. His was a unique friendship, the greatest of my life. Influence was not ours, but mental contagion. I never saw him die. This time I went to Cordoba where he was invited to Carlos Pellicer, Roberto Montenegro and many more. Xavier also was invited but was not. There I heard the news. As it was December 24 at dawn on 25 not out in the press, and what we learned when we were down to earth ...
- Do you frequent the community treatment or rather unfolded in isolation?
"In my case, it has always been necessary in relation to other writers. In Guadalajara we did a group of five or six who first published a supplement called "Nervo's Shadow", and then titled "Bohemia." Once in Mexico City, I joined the group without a group and I did not at all the activities that developed because I was studying medicine. However, eating with them at monthly meetings in Sanborn's, or attending conferences, theaters, exhibitions ... the first readings of poems like "Death without End" and "Night Rose", made in my office 8:30 to 10:00, where the way we gathered to listen.
"You then left the Federal District ...

"Not so soon. I left in 1972, and I think that helped me quit themselves. And if I left the capital was because I could not stand the literary groups, the maximato of "so-called" big. Besides I was tired and the conspiracy of silence. And my age was 72 years and was really undermined my surgical skill and agility. I mean, I drowned my reality and losing the desire to write. Upon reaching my people Cocula, I had a great period of reflection, I wrote my book "About how far" and had a kind of peace of mind. After a tempestuous life, I entered a peace resigned sexual, poetic recovery, forgiveness myself. When I was in that state nirvanic, I was invited back to Guadalajara to head the workshop literature of Fine Arts. Before I had been called to impose capital in the medal "Nezahualcoyotl" and to give some performances that were filmed. Then I was in the "Casa del Lago de Chapultepec and the" Sala Manuel M. Ponce "Palace of Fine Arts in 1979 received some other awards, and then came the invitation to go to Cuba to "Carifesta (International Annual Meeting of Poets), with the representation of Mexico, and finally my participation in the International Poetry Festival in Morelia ... all I was not looking. Actually I was surprised that my work aroused interest. Why this recovery? I have not asked for anything, I have not lifted a finger to make me propaganda, and now I spontaneously invited to give recitals at universities in the United States and other countries, I have been awarded the National Prize for Literature ... if he had not decided to leave the City until I had perhaps already died of boredom or weariness of life, but everything changed, I'm happy with my workshop literature, I rejuvenate my students and teaching them, I teach youth. He served 83 years on 19 April, and went at 84. My health is good at looking in reality collapses, and I failed the audition, and I begin to shut their eyes, but nothing alarm. My long reflection on death has convinced me of the need to die because the man is complete until it dies. Of course, I'm a cock fight and hope to die in the ring.
"You have combined his love of the scientific and art. How did this symbiosis in your life?
-Making symbiosis of Medicine and the poetry I was very easy. It's countless the number of physicians here and around the world have good doctors and good poets. And medicine are completely linked poetry because both are concerned with human beings, both in body and in mind. These links have increased over psychoanalysis and leads to the spiritual and dreamy. Say which of the two races I won, I is extremely difficult. If the surgery, which I exercise my age, could during the time that I worked, me live comfortably, however, the poetry, which I was unable to leave, other benefits paid to me, because everyone knows that economy does not support anyone, in any event, the victory could have as a poet, will be effective or not, only after my death ... Besides, I do not believe in the immortality of the poet, but in poetry. It is because of this that the poet is obliged to work in a different activity to the cultivation of letters, to meet the needs of his life and, in turn, steal his hours of rest, the most you can, to give to your poetic creation. Sure, you can be a vague or evade responsibility for poetry. Quite the contrary: the fulfillment of our duties give us satisfaction and euphoria needed to work our poems, and poetry to think and accumulates in thinking during the fatigues of our occupations. My collection grew intimate in hospitals, in "Juarez" and in almost eleven years as a Chief of Medical Surgical Federal District Prison, the famous Lecumberri, where I saw hell in life, the most horrible promiscuity I met her and I to cure their toll. In Lecumberri spent most bizarre events that honor the criminal sealed with silence. It's all in my poetry, and with it my own life. Now, at this age, everything has changed, my poetry is a reflection of what I live now: a reflective and soothing presence.
So the style in the work of Elijah Nandino is the result, in the manner of Rainer M. Rilke, labor, hierarchy, and the office. Their literature is the product of many heavy care and numerous attempts, restarts, deletes, and preferences. In his poetry we find the same aesthetic ideal that you want:
Almost at the top or perhaps
sima
still intend to find my word word,
the simplest, the friction of water, which pronounces

air when inhaling the fragrance of the forests, they say
the rivers to go
to travel within the seas,
or barely born at the very moment

of looks that look passing. I
letters of light, rain, flower
nudity,
for this desire to want to say I never told
,
what I feel and live

beyond my body and my body ...
Nandino In the poetry of "the loneliness and helplessness experienced by the man of the twentieth century are part of the work itself and the love he feels for the man" (Arturo Molina Garcia Elijah Nandino, close to all task poetic "). There is poetry in a constant search for freedom, a desire for wings, a desire to transcend the physical world and enter other worlds, other realities of inner-self. And no secret of his struggle. I always notice their language resources and a relentless endeavor to translate the words accurately doubtful of his soul. Their literature is dense in content, healthy morbidities formal, not the edges, sometimes excessive English poetry of our time. Attached to the most venerable Renaissance rhythms without unnecessary rebellion without gestures wildly, with full awareness of his office ... "(Octavio Antartica in" penny ").
" Nandino is one of the greatest poets of Mexico consistent . More authentic too. His long career is a wide curve, which retains an intact internal consistency, without breaks himself, without hesitation in the rhythm. Poet Nandino is vital and, perhaps for the same, is also a poet of death. Poet of Death in the broadest meaning of that expression. He is a man riddled with the desire for immortality Unamuno would say, but also provided a large inner courage. Nandino-you note, is terribly skeptical. However, there is a desperate. Talk about death with all the passion of true man, but takes is courage without fanfare. With a courage that never comes to be pathetic. That by itself, often approaching the classical tone. The right tone. Impeccable balance "(Salvador Reyes Navares in" Poetry in Mexico "). Alfredo Hurtado, in" The Poetics of Elijah Nandino ", says his work" to stagnate in patient waiting exegesis. "
-Master Elijah, what you think about literary criticism?
"I think before the glut of domestic and foreign books, is poor or even impossible. Also many seem partial. As for me, the conspiracy of silence always encouraged me to work, although I am greatly missed time here, but why not leave to warn that it takes a fair criticism, especially young writers, deflate the inflated and help who deserve it. We know that today the successful, more often than not, comes from advertising, and we know that the failure of many that are worth is due to the silence of those who condemn them.
- What do you think of the literary techniques?
"In my day, the" rhetoric "of Campillo was indispensable. Except poems my sister, all the poems I wrote then were measured and rhyming or assonance. It was in 1928 in Mexico City, when the shrill was in vogue, that the National University published my first book: "Spiral", which I started in free verse. However, after I continued to write both free verse and sonnets. I must say that there is poetry that only fits in rhymed verse and measured. I am so, so in 1970 I published "Eternity of dust" in tenths and sonnets of eight syllables. But now, in my recently published "white-hot eroticism" I turn to the free poetry, because that was necessary. I believe that the mandatory literature helps us to learn to master language while also control the poem and not be scattered. I think many writers the auxiliary literary theory at least, at first, would deprive the waste of words so much, and even more, help them carry out the core of the poem. In my case, I think I took advantage of the sacrifices of rhyme, measurement and accents, because I was forced to search for the precise language, and briefly address the concept of every tenth or every sonnet.
- On what basis you believe that a writer does? Do you think that over time the writer as a "doer" - is being transformed?
"Yes. I think the writer can "transform" or "made" through hard work, writing and reading. Literacy not only teaches, but at the same time reveals. But I also think it is necessary to bring a boost innate or natural desire to create. If you have it, everything you learn will raise the natural power. Universities can teach literature, but never to create a poetic language. In the study some almost instinctively recognize and find the facility to create, but if the call is not innate, the study will be a good writer, but not secret operator and without the power of communication. From my experience in the writing workshop, I found attendees to register, I have a taste of what they have written. This approach makes me see if there is no imagination, if there is depth, so I doubled my interest guidance. If the applicant, I understand psychological, I think dilettante or curious to see what you can do, also receives, reviews their work some time and he usually fails to attend. In my students, my greatest wish is to do with a real passion for what they do, you see a positive delivering them to those who work as both a curiosity and a need to overcome.
- How to teach your students in the writing workshop?

-In advance I know I can not teach to write poetry or fiction, but I can cause them to increase their efforts to move forward. I never correct them. They only suggest. Inexpressive frame them, so unnecessary, pleonasms, the cacophony or syntax errors. But we never felt shift its meaning, and never hurt me like susceptibility. Always induce them to say something, that its work is not a compliment to the language or simply precious each verse or line is routed to say or what they are trying to express. I stress the rubble of metaphors, images, embedded nothing further to make it look the poem, but have no active participation. I never like to make critical readings with other students until I no longer half-ripe original work. Young people are very sensitive and any irony or mockery of their work, destroys them. Moreover, the critical group are harmful because each gives his opinion on a verse or a paragraph, and then another speaks of another verse or a paragraph and so on, by word of mouth is chewed the text and, if interested them ignored, humiliated, corrected and realizes that he and his text, many maimed, is not its text, and if not corrected and left as he wrote them, he sees his work unsafe, defective, and eventually lose interest.
- Who, then, should correct the student? "Of course
that the teacher must make a correction, but reading the text before the student, away from the other, teaching each separately at a time to search. You have to make comments, suggestions, adjectives, but without hurting the core of the original. I also asked on what basis does a writer. I think the combination that can result from "not born writer" and "become a writer, a literature summary given in false, not authentic, cool, well-written but perhaps mummified. Besides, we all know that the born writer also has to be done. He who was born with charisma, now it is cultivated, add to it, deepen it to outward and inward. Born writer is a responsibility that gives us the destination. By the same token we must accomplish, writing tirelessly as the good farmer meets farming. Elijah
Nandino is in the midst of their torments and night, a man in search of a handle, something immediate and a redeemer, who is expected to tighten and forces himself to take refuge among their own arms, which forces him to rest on your shoulder. Solitude and silence accompanying testifies his love to the world that surrounds him, sings to his sincere humility, one of its principles and the highest and best example that leaves its readers. His work has been docile and submissive model, however, never gives up, as the calm constant water wears away the rock, because from his corner, modestly, he discovered the secret that unlocks the door which gives access to Olympus. And this, perhaps not knowing it, because although their wisdom is old, is more doomed to scientism that cry, as one of Dostoevsky's Karamazov: "I do not believe in God ... but believe." Attitude that makes us perceive a subtle wall between his work and He is not named. Elijah
-Master, what has searched through his work? Was revealed the secret of poetry?
- What is poetry?. Neither the poets themselves can define. Everyone feels it and expresses it differently, with different concerns or individual desires. Nobody knows what is poetry, but separately from the search, the senses, invents, dreams ... The poet is a stranger who was born on this planet not only to live but at the same time to investigate why and how we live. Their reaction to the unknown is a rebel, not submissive longs, seeks to unravel the mystery. Of course, each poet brings his concern, the sting of your questions, curiosity mystique of the underworld, prophetic ... all poets looking for different ways the same truths, the reveal the same secrets, the realizations of the same hopes, but all-I say "all" - we come to death with empty hands. What es entonces la poesía?. Es la culminación de esas búsquedas, de estos titubeos, de estas reflexiones hechas durante siglos de siglos. Es, en suma, el conjunto de los gritos muertos de todos los poetas que han buscado la verdad de su origen y la razón de su vida.
-Usted ha afirmado que su poesía es usted.
-Desde luego: mi poesía soy yo. La siento que me nace y me habita como otra fuerza ajena, diferente a mi vida, que me obliga a crearla pensando con mi propio pensamiento. Me la explico como fuerza ingénita, como memoria de especie, como reverberación intuitiva, como un estado naciente y continuado de aventuras lejanas que anhelan despertar en mi memoria. Parece que no vivo mi vida, sino que la recuerdo. Por I write. Because man has the right to reproduce the ideas conceived, and to reproduce it is necessary to retain them, the object of reproducing is to remember. Memory is a faculty and a state memory, this where I live. So my epitaph reads: "In the dark loneliness of the closed eyelids of the well, are saved the remains of my figure. Is all that remains of my flesh angry that, by burning without measure, expired, and gave me lucky not to die my death, I kill life. " © Waldemar Verdugo Fuentes

Links Waldemar Verdugo Chilean writer. google0cee19fffd6b410b.html

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Social Network (The Social Network) and the theory of diffusion of innovations

KC: Seven Different People Same spammed me the link.

KC's Friend: What is it?
KC: I do not know, but I'm really Hoping That it's cats look like Hitler, Because I can never get enough of That.

KC : Seven different people sent me the same hyperlink

KC's Friend: What is it?
K.C. : No sé, pero realmente espero que sea del gato que se parece a Hitler, porque nunca me canso de eso.

Mark Zuckerberg : People want to go online and check out their friends, so why not build a website that offers that? Friends, pictures, profiles, whatever you can visit, browse around, maybe it's someone you just met at a party. Eduardo, I'm not talking about a dating site, I'm talking about taking the entire social experience of college and putting it online.

Mark Zuckerberg : People want to connect to the Internet and see their friends, so why not build a website that offers that? Friends, photos, profiles and what they can see and find. Maybe it's someone they met at a party. Eduardo, I'm not talking about an Internet dating site, I'm talking completely bring the social experience of college and put it online.

Divya Narendra: Everybody on campus WAS using it. "Facebook me" Was the common expression after two weeks. And Mark Was the Biggest Thing on a campus That included 19 Nobel laureates, 15 Pulitzer prize winners, 2 future Olympians and a movie star. Sy
: Who's the movie star? Divya Narendra
: Does it matter?

Divya Narendra: Everyone on the campus were using. "Add me on Facebook" was the common expression after two weeks. And Mark was the best on a campus that included 19 Nobel laureates, 15 Pulitzer Prize winners, 2 future Olympians and a star film.

Sy : Who is the movie star?

Divya Narendra: Does it matter?

The movie The Red Social (The Social Network, David Fincher, 2010) tells the classic story of friendship, betrayal, power and ambition. Besides being a notable film, is known for describing the process in which an innovation spreads, in this case a virtual network currently has over 500 million members and which originated on a college campus, paradoxically, as the film shows, clearly by someone with antisocial traits.

In the film, we meet Mark Zuckerberg (Jesse Eisenberg), a computer genius with some problems of interaction with others. In his quest to join one of the fraternities at the university, conceived the idea of \u200b\u200bcreating a virtual network in which students can be aware of what their peers and also, post your information for others see. However, the axis of the film is that the twins Winklevoss (Armie Hammer), had a similar idea before and accuse Mark of stealing his idea to build the innovation known as Facebook. Likewise, Mark's best friend, Eduardo Saverin (Andrew Garfield) accompanying Mark on the process of creating Facebook, to support him in financially, later to be fooled (or in the words of Mark, making a bad business decision ), which significantly decreases the impact on the company. The film then focuses on presenting both demand Eduardo imposes his former best friend, like the twins Winklevoss filed against Mark. This paper will not focus on the story about the demands, but scenes of the film relate to the theory that exposes how innovations spread.

Firstly, the diffusion of innovations occurs in a 5-stage process and occurs through a series of communication channels over a period of time among members of a social system similar. Now let's see how these five stages are presented in the film and describe the process of diffusion of an innovation, in this case, that has to do with the creation of a virtual network.

Knowledge (knowledge): This stage, the individual is exposed to the innovation but lacks information about this innovation. In the film, this step was seen in two scenes. In the first, when Mark Zuckerberg sent his university colleagues the link to the page you created 'hot or not hot' in which students could compare their partners according to their physical attractiveness. In this case, the students saw the mail and acquired the knowledge of this lack of innovation without more information. The second scene shows Mark Eduardo Saverin asking the mailing list of the brotherhood to which the latter wants to join. Mark knows he must raise awareness and knowledge on Facebook if you want this innovation is disseminated.

Persuasion (Persuasion): At this stage, the individual is interested in innovation and actively seeking more information or details about innovation. In the case of the movie, when Mark sent the link to the page 'hot or not hot', appeals to the primal instincts as a dissemination tool. The analysis that he makes about the mechanisms of persuasion in order to disseminate innovation, is that his college friends could access any other page and 'Rank' to women. Hook to interest page he created, is that they were calling women they knew. This analysis was the seed that germinated later in the creation of Facebook. The persuasive element was in the interest of human beings to know their friends and even regardless of physical proximity or maintain real time communication.

decision (decision): At this stage the individual weighs the advantages and disadvantages of using innovation and decides whether to adopt or reject it. In the film, this stage is implicit in the argument and assume that Facebook's success lies in the positive decision taken potential users to adopt this innovation and its dissemination among their friends and acquaintances.

Deployment (Implementation): At this stage the individual seeks more information on this innovation and determine its usefulness. This stage as the former is implicit, as growth in the use of social networking site Facebook, is explained by the increase in the number of individuals who have become interested in this innovation and communicate it to others. In a scene from the film, Divya Narendra (Max Minghella), note that the message of a classmate invited to join Facebook. Immediately, run to warn the brothers Winklevoss (Armie Hammer), his idea was stolen and that the innovation proposed by Mark surely overshadow the one they had in mind. This is because Facebook already going in a more advanced stage of innovation, while theirs, ConnectU, had not even begun, and once they put up, lose their innovative nature, which would have been left Mark with Facebook.

Confirmation (confirmation): at this stage the users use innovation to its maximum capacity and adopt as a daily occurrence in their lives. In the film near the end, the number of individuals who reached this stage reached one million users. Currently, this figure reaches 500 million people who confirmed and adopted this innovation.

This does not mean that there have been many individuals who came to the decision stage and opted to reject the innovation that Facebook raised. Even many came to the stage of confirmation and subsequently withdrew. However, the fact that the innovation of Facebook reached a level of maturity and is now part and parcel of everyday life of many individuals.

Next post: Social Network and the categories of innovation adoption

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The Joneses (2010) and the effect of "Ripple" Jokes about economists

A Seemingly perfect family moves Into a suburban neighborhood, But when it comes to the truth as to why they're living there, They Do Exactly come clean With their neighbors.

A seemingly perfect family moves into a neighborhood in the suburbs, but as to the truth of why they live there, they are not very transparent with its neighbors.

Some Families Are too good to be true.
Some families are too good to be true

They're not just living the American dream, they're selling it.
They not only are living the American dream, they are selling

Can you keep up?
Can you keep your level?

This article contains 'Espoilers'

film The Joneses (Derrick Borte, 2010), tells the story of a family who moves to a new neighborhood. Their sophistication, style and class is immediately struck by its neighbors and each of the members of this family is an example of what constitutes the American dream. However, not everything is as it seems (it is Hollywood, of course) and behind the facade of perfection and happiness lies a marketing organization that engages people to represent different families and sell products through their exposure to social environments. For example, an employee who represents the father (David Duchovny) is an excellent golfer and therefore recommends the use of their clubs and apparel. Who represents the mother (Demi Moore) makes it through the show as an excellent housewife, who is also an example of beauty and poise. The children played by Amber Heard Ben Hollingsworth and immediately become the most popular school and impose fashion trends and also have the latest technological gadgets. The neighbors are in awe (and envy course) and immediately purchase products The Joneses used to pretend to be at the same level they hold. In short, the film is a bittersweet satire of capitalism, the American dream and unscrupulous big companies to attract more consumers. As one of the characters in the film: "if people want you They Want What You Got" (If people want you, want what you have). In the case of this article, will link this aspect of the film with the concept of effect 'Ripple'.

The film's title comes from the phrase "Keeping up with the Joneses' (something like keeping the level with the Joneses) which refers to the comparison with neighbors as an example of social and economic success. Failure to maintain the level with the Joneses is perceived as a demonstration of cultural inferiority or socio-economic status. Regarding the film is clear that The Joneses was taken as a reference for attraction and come to the neighborhood. His style and harmony makes an archetype of what must be an American family. Like any company, a supervisor (in this case supervisor, played by Lauren Hutton), audited the results of their employees, in this case the Joneses, and evaluates sales increase as an indirect result of wanting to imitate and keep up each of the members of this particular family.

effect 'Ripple' refers to three situations :
- The first situation is where an indirect effect expands from the source to reach areas that were not planned initiatives.

In this case, the film exposes the simple fact of showing certain material goods and services by the Joneses, generates the indirect effect of increasing the consumption of such goods and services, and therefore, sales for companies that offer them. They do not sell products directly to their neighbors, they just wait for the image they project as a harmonious family as an incentive for residents to imitate them and acquire the same products they use.

- The second case refers to a situation where as a wave that spreads through the water surface when an object is thrown into it, the effect of the initial state follows is incremental. In other words generate ever-larger waves.

In the film, the second situation can be interpreted as the incremental effect on the expected consumption by the company that employs the Joneses. If the Joneses are imitated by other families, these in turn are then imitated by generating larger waves of new purchases in a manner similar to waves arise when a foreign element is thrown into the water (see photo). This situation is also similar to what happens when a youtube video becomes viral . The effect of word of mouth, in this case shipping links between acquaintances, a video post for someone else can generate "waves" of information that make the same video seen by millions of people. In these cases, an essential element is that waves tend to disappear over time, so it is necessary to periodically shed new objects into the water, which transferred the case to the fashions and trends, involves introducing new patterns and schemes. In the film, it is clear that the Joneses can not always be the same car or the same clothes, to continue to create waves shopping must periodically change their property.

- In sociology, one can see how social interactions can affect situations not directly related to the initial interaction and can spread and move from community to community to broaden the impact.

Related to the first and second situation, in this case, the effect of "Ripple" shows how the social interactions can have in communities, or people who have no direct relationship with the creative source of the wave. An example of this is economic analysis Ripple Effect . With the recent economic crisis, people spend less money. A family decides to save any costs not traveling on vacation, which means not buying airline tickets or hotel reservations. Airlines and hotels must then cut costs to keep their businesses afloat. These cuts may include dismissal of employees. Terminated employees should in turn reduce spending to adapt to this new situation in hopes of getting a new job. Successively, the effect ripple in the economic context, is generating incremental waves that end up on a widespread impact on the economy. The interesting thing is that people, families and businesses affected have a relationship indirectly to each other, ie, no business or family affects another directly, much less deliberate. It is simply the effect of "Ripple" that is growing as families and companies are reducing their consumption and expenditure respectively.

An element of reflection about the ripple effect for the analysis of social interactions, is one that has to do with the importance of the external object into the water to create waves. It is clear that different sizes and weight of objects thrown into the water, generate different magnitudes on the airwaves. Applied social science, an analysis can be done is the concept of celebrity. It is also clear that is not the same imposing a tendency to generate waves of behavior in a society if this trend is generated by a stranger if driven by a celebrity. In an article Taleja , the author analyzes the impact of celebrities in brand positioning. At first celebrity is defined as those who have some recognition by the public such as actors, athletes, singers and politicians. Taleja concludes by stating that celebrities have a positive impact on brand positioning and provides fourteen criteria when selecting the right celebrity to promote a product. It is necessary to analyze deep to establish that it is no coincidence that companies pay millions to celebrities to publicize their products and withdraw their support for celebrity falls from grace that may affect the image of your company.

As shown by the Joneses, the effect of "Ripple" helps explain the behavior of corporations (in this case their consumption patterns) can be changed by entering the appropriate external element, in this case a model family encouraged to be emulated. The problem, as noted in the film and can be seen in the case of celebrities, is that the waves generated can impair the development of a society and to encourage behavior absurd.

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"Oaxacan who left their mark."

"I love Oaxaca a stone ..." (Gabriela Mistral)

I received this unique book: "Oaxaca who left their mark." This offering of 60 portraits of women "who drew with ethics, wisdom and goodness, light trails in a bountiful land," as the editorial coordinator and designer of the investigation, Dulce María Méndez. A collective and pluralistic news that rescues the most outstanding women in Oaxaca, the charming sprouting from pre-Columbian times to the present. In an excellent edition, 560 pages, the collective Women in Time, published in June 2010, the book also rescues unpublished illustrations and photographs, framed in a design of Diana M. Chagoya Gonzalez, illustration and cover design and Mere Alma Rosa Balderas Migoya (beautiful work of plastic that goes back to the master Rufino Tamayo technically but with a new look delicate, mainly female), this book "Oaxacan who left their mark" born under the Silvia Rosa initiative Méndez García de León, founding president of Women of Oaxaca Navigating the Time, AC She writes in the introductory note (excerpts):
"There were two main criteria used for selection who would be the subject of this work: 1) Origin. Being born in Oaxaca and / or lived a significant period in the state, 2) contribution. Have made some contribution to the community and excelled in different areas, to remain in the collective imagination ... Almost all of our assessment of women was a long process, between the temporal and meritorious variants. Proposals to integrate the book arose from a reflection that we undertook, from the December 7, 2007, when he formed the Association of Women of Oaxaca Browsing Time. Other proposals came through a call that launched for this purpose, various suggestions of stakeholders and specialists in the field. This gave resulted in a great eclectic content, as in this book we will find from the academic writing neater and even the language more direct and colloquial. Despite the different styles, variety of authors and the heterogeneity of the profiles there is a point of support: the significance of the women whose stories make up this anthology ... Open the volume of "Oaxaca who left their mark" a text on women's pre-Hispanic era in which prevailed the dual principle: male / female, Ometecutli-Omecihuatl and where indigenous farm women images rooted in the earth and life. We continued with a reference to the presence of women during the Viceroyalty, stage where his work space was restricted, since they were generally confined to the closure, the faculty or subordination. Although then their access to education was forbidden, many of these women found their way to own and share their wisdom of life. The development of the profiles actually occurs from the nineteenth century to today. It recounts the life of women with significant merits and degrees, but also addresses the traditional woman, one that lacks studies only distinguished by value and substance to get ahead. It is she who goes and flows inexorably over time and is indispensable for progress and the balance of world ... This inventory outstanding women covers the geography of Oaxaca and is just a ball of light memory sketches ... a kind of historical memory of an anthology open ... a contribution to McLuhan's global village, "published with private support and collaboration of Alfredo Harp Helu Foundation, the Ministry of Culture, the Institute for Oaxacan Women and Coordination of Social Communication of the Government of the State of Oaxaca .
When Chilean writer Gabriela Mistral Nobel Prize visiting the area, then writes: "The city of Oaxaca was founded in a valley that we should all just news if America were seised of the best of herself, all doubt it, which is wonderful geography. " Oaxaca is oil refining, is harness, textiles, ceramics, tourism and Quelaguetza, the jewelry and mining resources, is focused graphite, mica and iron, coal, gold, silver, copper, zinc, titanium. Is corn and sugar, beans, wheat, rice and green alfalfa, sesame and snuff. Is coffee called "gold." It is the role and beautiful languages \u200b\u200band dialects. It is the fruit: avocado, golden pineapple, sour lemon, watermelon, guava scented, melon and papaya. Oaxaca is the land of deer and golden magpie, a bird that inhabits the curve mysterious charm. It is a furious expression on earth. And their wives.
When carefully observed natural phenomena-the day and night, changing seasons, the ages of metal and pink-flowering of a conviction of some hidden power that necessarily must move these forces, and the quest to be born agreeable to that power, and that suits us. Thus, we have gradually come to understand the rhythm mercy, for example, for certain dates for planting, others to collect the fruits as expensive to pull from the earth, but also the pace, the man confides in his acts of respect for the god or the gods they are, waiting for better crops and do not fall under the divine anger kills.
And if through our history we list deities and powerful name we give to the achievement and to counter evil (whatever the idea that we have of them) take refuge in our God and man closely linked to them, their life, finding an explanation to many mysteries and help than not know, from the indecipherable. It is known that the greatest pain of the soul is feeling abandoned by their gods because the man only survived being humble, so superior beings invented to help you interpret the phenomena of nature, think gods seeking faith and confidence that life is not vain, to lessen the pain with dignity, to respond to everything that our intelligence can not explain and most notably, superior beings invented not so alone to face the inevitable end of the time we live up to everyone.
As is common in most ancient centers of human flourishing, in Oaxaca over the great gods, the Sun, Water, Earth-complement their cosmogony countless lesser gods, who generally believe that everything in existence carries with it essence divinity, and talk of a storm god, god-tree, god, lightning, animal god, god-man ... seeing in these ways human gods and deified human, on a scale that goes from the little of being in front of the Universe, to the powerful man who can go to the stars and back at will. And on this scale are the steps Oaxaca countless; occupying site attributed fantastic magical beings, armed with divine characteristics, capable of disrupting the order of things, taking place soothsayers, wizards, warlocks, shamans, healers of good and evil, which for some mysterious reason have access to the secrets of life, such an area closed.
The danger of death and disease are trances in which magic can provide some palliative action, why not?, Preferably divine help if asked who is likely to do with learned rituals thousands of years oral transmission. Meanwhile, in addition to plant and harvest at the right time, man will learn other things; know, for example, that there are herbs that feed and sometimes not. Some plants are effective remedies, others provide a pleasant condiment, these will be rare indeed in the mind, those are poisonous and there on this side are for the persistence others, or permit the life of the fauna, also sacred. Admired for the skill of the animal, it tries to achieve its speed, strength and another that his ability to survive. The clear air and fog, stone, water, fire, hills and mountains, the meadow, every valley, the cave, cavern and cave, river, jungle, desert Oaxaca divine shelter and loved life wonderful, some awful, including for each tribe in a different way, with explanations of their own individual and ethnic origin, according to their own culture, because it understood, each of the fourteen tribal settlements in Oaxaca has its own culture, becoming in many languages \u200b\u200bthought, word, singing, music, art and fear and fear of the unknown.
Zapotec, Mixtec, Mazatec, Chinantecos; Mixes; Chatinos; Amuzgos; Cuicatecos; Huaves; Chontales Triques; Popolocas; Ixcatecos; Chochos; Zoques; Naoas, some with completely unknown origin, some with ancestors going back thousands of years, that neither their internal wars and evangelization have fully succeeded in banishing their gods, which are alive, some disguised in robes and Christian names, in an odd mix that somehow binds the fear of the Indian with the fears they had in their minds of Europeans. Thus, the Pitao, great god giant Zapotec interpolated survives in the Christian God, the Sabi, Mixtec rain spirit is also San Marcos, and the Virgin of Guadalupe has the power to naoatls Tonantzin it is true that in Oaxaca is very difficult to distinguish where they end the old gods and start working the new, making it impassable to find the definition of the territory "of power" between them.
For sure, it is unknown where they came from the first that settled in Oaxaca; researchers deduced diverse backgrounds to disagree. Some say that but there were strong Toltec Olmec influences: it is assumed that at times came near one another, for millennia. However, the teacher says Gabriel Lopez Zapotec China, "the researchers may perhaps find the scientific truth of our origin, but we binnizá of Oaxaca live, dream and die in the grip of the poetic truth of our ancient mythology.
When the English arrived in Oaxaca were features of things never seen before: far were the days when one of their holy cities, the pride Monte Alban had been abandoned by its builders, the beautiful giants called "binnigulaza": "from the clouds, appeared in Daniban sacred hill, where they buried the huge body of legendary warlord Xozijo, located in the heart of the giant buried was built the magnificent Monte Alban" (Codex Zapotec). At the beginning of foreign invasion closed the door of Mitla, in Zapotec, where the input and output of eternity, although the city for centuries of time had been swallowed by the earth, and the English found little unless it stands today: half-buried stone walls covered with carved writing the history of Mitla, designated as one of the ceremonial cities America's most important, which housed schools of botany and mathematics, poetry and medicine, his astrologers left written in stone the round shape of the Earth and an event calendar that starts in the past forgotten and lost in the unknown future .
Oaxacan Indians, and in general the natural of our America, is a clean man from birth renders worship to the use of water, hygiene and simple wisdom about the hidden powers of nature's milk. They think of the hills comes the water, in the Oaxacan Isthmus areas named dani valley, the geographic feature that allows water to escape the heart of the hill, and found explanation of the many rivers that cross the area, and the aqueducts and canals continued to use English, many of which are still in use. Mixteco
Al mighty river, which gathers water from various other sources, he is seen flowing into the Atoyac, to deign Mezcala tributary, the famous eastern Balsas. Atoyac many rivers to give life, as Etla, the Tlacolula, the Salado and Miahuatlán, until it becomes Green River and other waters receiving crosses the Sierra Madre del Sur. For seven streams Jamiltepec Pinotepa and gleam like silver ribbons, including the Tierra Colorada, the Tecoyames and the Arena. Sixteen streams come together in the Sierra to the sea, forming a watermark between Green and Tehuantepec, contained in Benito Juarez Dam from where it gives way to Bahia Ventosa. From the Sierra Crossed, rivers and Ostuta Juchitán are led to silver mirrors are gaps and East Superior. Rushing to reach the Gulf slope currents Papaloapan Bravia and Coatzacoalcos, which are like seas contain liquid momentum. Much water, however, is not sufficient, because it does not coatzaqueñas highlands, suffering from thirst, so that agriculture there is not favorable. Nor does such a mountain range, not always, life becomes difficult because the fog tired at the end of life, as the principle. The sea Oaxaca itself that never tires, so that reveres him so much respect and fear: Nizataopani, the sea is for a huge living Zapotec is angered when something red about it, which is good but evil genius, So if you walk beside him, must be done with care to not send the wave brave man snatching their environment, drowning. Water
linking seas, lakes and rivers with extensive coastlines and ports, bays, headlands, beautiful beaches, bars, ropes that since before the birth stimulated the imagination of the people of this land ... bays, for example, are snatching up the best, Puerto Escondido, Puerto Angel, Salina Cruz and Huatulco Ventosa. I in Huatulco in 1988, when he began what is now an important tourist, I was invited by the Ministry of Tourism of Mexico, and I must say that its waters are the cleanest they can be seen, a bathing among exotic fish and sand golden sun. Others who claim their tickets at sea are Chacahua with Punta Galera, or Bay of Punta Conejo. Others have their island, like Tangola. Unforgettable places Oaxacan up many points, so that only one would like to be there naturally, perhaps because it has always been the man in the region praised the gods to keep him his world. I've seen, "when they are dying in our eyes" ("BIA ziyati miati lucid "in Zapotec), ie, at dusk, when it gets dark I saw the Oaxacan pray to their gods and imploring them to protect their land, taxed the gods who live here, living in every corner of this geography violent chaotic, aggressive, when Hernán Cortés explained to the King of Spain, just a sheet of paper crumpled and extending sovereign's eyes told him that he could thus better understand it.
I spent many hours in the Oaxaca market, resembling most equal to the "flea market" to describe their relations chroniclers of New Spain. It is almost impossible to list everything that is sold, because on weekends, especially on Saturday, arrive with their goods from all points, and it's huge range of foods, many artifacts, trinkets, ornaments and authentic works of art in different materials, stone, wood, fabric, and wool embroidery, wrought iron indescribable unparalleled in diverse ways and for all the profits possible to imagine. There are two buildings, in the first, largest, sold itself in a pleasant food, beautiful flowers are always fresh around the center stack, and the sides clothing, brightly colored blankets, barrilería, and across numerous devices Jarc: hammocks, backpacks, networks, belts, anqueras and everything needed for the field man and animals. The other building is mainly for household items like dishes: black, which is preferred, natural colored earthenware, glazed earthenware, green or color of wine, or fine polychrome ware such as Talavera. Bells sound black metal candle holders for altars, censers three feet to burn incense, clay pots red and black of all shapes and sizes, round, ovoid, fusiform. Planters holes to hang from the ceiling of the corridors in all shapes and sizes, toys bizarre, black monkey with a gesture perpetual, prehistoric elephants, manatees and turtles from glass globes filled with water dyed or guarding religious forms. Sold mud legions of saints, a whole procession of his images, tiny and medium-sized figures, painted the living, with strong colors, with strong popular flavor. Along with roadside ware are the baskets and baskets, an infinite variety, the finest with a lid, made from reeds otate and to withstand shock, there mats and beautiful palm-leaf mats that are bent a little bump and extended covering three to four meters. Brooms and palm fans, also tapes and hats, all kinds of them. Elsewhere irons sold: the greater variety of shapes and potential profits. On the other hand sell the wood, on the other blond corn in piles stack ... tejate vendors abound, a refreshing drink from the most varied tastes, and the snow fields (I tested exquisite squash blossom ice cream, the maguey and other plants that are unique to Oaxaca).
A primary concern are the Indian market vendors who come from remote villages in the state, each with their clothes and local products, the market is the mecca and its empire: they come with one or two days notice, sell the goods brought from their villages and buy what they lack. If I have any money, staying in the city on Sunday, invade the interior garden benches listening enraptured the music of the bands that meet there, on Sunday afternoon are going to return next week, without leaving the population before he prayed fervently at the altar of the temple near the Virgen de la Soledad, without having rubbed their legs with loose rock dust that embedded to the right of the entrance of the temple, for strength for the walk back. Sitting cross-legged in the manner of his old idols seem monolithic sculptures, those of the Sierra are dark and serious, very own, those of the Mixteca are clear and very nice features, those of Yalala are said to be aristocratic and any, have their hair braided with thin cotton strings up a kind black and white headdress that drops them on the back of garments very white, his gait slow and stately by that touched so high that carried with great poise. I say that in the vicinity of the holiday Etla are many Tehuanas, which wrapped up in their beautiful clothes are the most attractive and lively. Almost all Oaxacan wear headgear, do a sort of turban with a shawl, and even the humblest cover her hair, wrapped in black tape, with the same gourd and pumpkin painted on drinking and eating. Many breastfeeding their children. Women are the most popular herbal and have great importance in Oaxaca, because they relieve the diseases of the people with his knowledge of plants grown by them and their elders for thousands of years. The Sabbath day is formidable. Those who have been late with their products are installed in the adjacent streets, a man comes running to a bell that hangs in the center of the market and gives three bells that are heard throughout the premises, is to call the police: a thief or a quarrel, but we should note that the site is safe for tourists who are here only artifacts and foods imaginable. Are the meals in each country as integral anthropological tab of the people as an integral brand, collective history of the body and soul, and one always ends in the market environment ready to serve dishes of the region.
tastes from Oaxaca is known that more than anything books say. To see the wealth in this market is enough to see the variety of food to check. The kinds of cheese are endless, the cheeses of narrow strips, braided, are delicious. There are countless loaves which I found very tasty one they call fine resobado, buttery, salty, perfect for lunch. We were invited to Oaxacan tamales, which in Chile is emparientan with native corn tamales, but filled, which are wrapped in banana leaves two crusades that will open like a book that springs open when you finish the delicious tamales, no Hard as is often the City of Mexico, but workable, plenty of sauce and chicken. We were also invited to test Oaxacan food summit, the famous mole, which has several forms of preparation, I've tried is as black as coal, taste less complicated than the mass of Puebla, but just as delicious to the palate. Are a few flavors of Oaxaca in which life seems to rejoice and to soften a little its contours.
also caught my attention like that used by Oaxacan unmistakable to say things, your speech is special in a country in the world in which every province, every region, every village has its own dialect and speaks differently. In Oaxaca the stress of city dwellers is not only peculiar, not only the ll is pronounced soft and long, as French g, but the words vary in its location, sentence construction is different without changing the meaning. Sometimes they are very pure and rescue of sounds from his past forgotten. The verb used alone as a statement.
- Do you have report cards? I ask a seller what is built with beautiful bark paper, and she simply replied: "I have
.
Other times, the construction gives the phrase an exotic sound:
- How have you been? Have you been well?
Some words are altered in meaning by the people seem more logical. Thus, instead of lemon, lemon say, instead of apple orchard say, instead of orange, orange. The alteration is sometimes in the morphology of the floor to give better agreement, as the following compliment widely used in the market:
-bye beautiful, charming, pantorrilluda, do you want?
Another peculiarity is to collect words that by their nature are not brought, as verbs with the interjections:
- Look, ah ...!, resulting from an extraordinary simplicity. In this case the verb itself is an interjection and its effect is destroyed when used with the interjection ah, indefinite, and escape from a deep past.
Oaxaca, in full Selva Madre del Sur of Mexico, stands proudly the title of "Cultural Heritage of Humanity." Walking through the streets and markets, talk to your people is passing through the recesses of the most ancient past of America. So, Oaxaca is many things: life is a perpetual ritual, is the Sierra Madre, is the fifth of Mexico with its 95,364 square kilometers and over two million residents, is the legendary Maria Sabina and the sacred flowers ... Oaxaca is the gastronomic universe, and music, as the wind moves the leaves of the glens, and the fragrant breeze that echoes rhythmic waves of the coast, so is the heart of Oaxaca: musical and full of tenderness - one thing goes with the other, "because not in vain are the two thousand or so verses of "La Llorona" to check:

"clear bells say (Llorona), their bells are turning
:
If you die, you die (Llorona)
if you live, I still love you;
it is true what you say
(my Llorona Ay!):
can publish it in side ... "

I've been in Monte Alban, which reads the inscription at the entrance to the Ceremonial City:

" There time when humans were giants, a beautiful giant
called binnigulaza. "
Some of them came from the clouds,
of which fell in the form of birds harmonic singing,
with plumage in which they held the polychromy of the rainbow.
Other giants sprouted from the roots of the tree, flexible but indomitable. Others, strong and brave, born of rocks and wild beasts. And there were those who simply showed up.
Lovely pita, the great god giant maker of all things, built in honor of a huge mound of fiery element;
Daniban called it "sacred hill, and on this hill was buried
huge body Xozijo its legendary leader.
Located in the heart of the giant Xozijo,
built the magnificent splendor is Monte Alban. "
(Codex Zapotec)

themselves, today the inhabitants of Monte Alban archaeological site called People of the Clouds: Ben'Zaa in Zapotec and Mixtec language Ñusabi. Aztecs also designated as mixtecatl Nahuatl, "the people of the clouds." Monte Alban locked in their traditional names his secret to the Zapotec is Danibéeje or Danigalbeeje (Tiger Hill). In the official titles of the town of Xoxo, its custodian, read Jucu-oco "Nana, that romance means" hill of the twenty tigers. " These documents, some of the eighteenth century, Monte Alban English carries the designation of "Tiger Hill." The truth is that many hypotheses exist to explain the name, address even historical comparisons between Monte Alban and places of the same or similar traditions elsewhere, as Lazio Albano, near which his greatness was Alba Longa, the legendary rival of Rome. It is true that Monte Alban was always considered a sacred place. This is how the older tradition appointed Tanibaana site ("holy mountain" in Zapotec archaic language, the vocabulary of the voice Córdoba designated as word naming Baanah untouchable, sacred, and mountain or hill Tani as interchangeable.) Another voice Aztec acelotepec, so called "hill-tigre", the Aztecs arrived in the area when Monte Alban was already a ghost town, immediately before the Conquest. Failure to make this ancient citadel all contemporary chroniclers of the conquistadors, who named themselves less important than other settlements in the area, because in the sixteenth century Monte Alban had been missed: wrapped in the mystery of its walls, became a place haunted object of profound evocation of the descendants Mixtec and Zapotec, the two great cultures of the valley with the same apparent origin divided into branches about four thousand years, and those who come Xoxos. The unique architecture of Monte Alban cropped at the top exercising such a suggestion and mystery that until the early twentieth century, was considered as a zone of enchantment, inhabited by the last ancient deities and divinities.
Tradition has it that after the demise of giants that inhabited the earth a day, to be buried the last of his heroes, which were built in honor of Monte Alban. After the Great Flood, when he spent time with no historical record, the first land to emerge from the water, the monument of giant Xozijo was first seen, yet never saw him again one whole, having to do so, dug large depths at the site, something for which even archaeological science is not ready. This story that there were giants before us is doubtful but not impossible. Some say frankly that is true, and to address the issue requires a separate text, but we can at least note that the human being, scientifically, is getting smaller, which is being developed in a process of millennia, this The twentieth century science proving that supported him everything in nature tends to the atomic. Genetics, in this regard, it is set out in everyday life: it is true that the old man is losing more and more his demeanor. Perhaps our tendency to atomic lies precisely the greatest mystery of man. And this enigma rose Monte Alban, which, as anyone can read in the Codices Zapotec and Mixtec, it reached city status wise around the year 550 before us, where, historically, the site agglomerated to the deities of Mesoamerica: from that time they have rescued some of the stelae (carved stone) more unique of the ancient world as the number of the Dancers and Men of the Word, also correspond to this time the figures enclosed in what looks like an egg (which are associated with "air things on their machines) and the Astronomical Observatory South Platform, which has not been restored yet, but is similar to those found in Machu Pichu, Peru and some excavated in the Peten, Guatemala, and has led some researchers, such as Oaxaca archaeologist Martínez Gracida, to articulate a common origin for the most ancient cultures of America, which is very likely, but unverifiable now, but it can be when they move in our archaeological rescue continent. In Monte Alban, the rescue site was started in the 1930, but work has been abandoned in later times for lack of funds, never an exploration in this important area has spanned more than two years of continuous work. The National Institute of Archaeology and History of Mexico, with its meager resources has only managed to almost completely restore the Great Plaza, and lack done. It is the reason that this archaeological site, included in the list of cultural heritage of all mankind, channeled through the INAH for rescue aid. Help you, dear reader, you can deduct from their taxes by international agreements and may require information in the delegation of UNESCO in your country or directly to INAH, Mexico City
I conclude by saying that I have visited twice Monte Alban. On the first occasion, I was sent to do an interview with Mary Beaver wise guide and photographer, to work the second time was different: a dawn, before signing off on a subsequent visit to Oaxaca, to enjoy another perspective, I went to visit Monte Alban, alone. And, in my ignorance fueled by the heat that was cool, I decided to just lie down to rest among some ancient rock carvings I saw in the open air site seemed the most suitable because it could see further excavation immediately that someone had recently done , and its location allowed me to make out much of the valley of Oaxaca. Mary Beaver had told me to go up an offering, brought incense and a white candle, I lit between two rocks with hieroglyphics that protected from the wind. It is true that from time to time I seemed to see little snakes across swift close to me, but they seemed so small I simply fell into the break, ignoring them. The place was wrapped in a unique atmosphere that is dropped from the sky like a blessing. That was, deep in contemplation, when I was awakened virtually screaming for a group of workers who showed me something from the rocks nearby ... Instantly I saw as far as I was approached two men, tights and gloves protected with hard, they were horrified to see me where I had chosen to rest: monoliths had recently rescued from the land covered a nest of vicious "yellow beard "a small but deadly snake that has the distinction of jumping several feet when he decides to attack. In my amazement I saw as quickly, one of the guards installed on "my" site a freshly painted sign, strictly forbidding traffic in what seemed like the place better protected ... and I must say, while I was exposed to the hidden danger that slides into the rocks of Monte Alban, something in the air, or in my spirit told me to stay calm, you could stand there, the huge Xozijo whoever protects arrive at the site in whose heart lies the darkness of the days when giants lived here.
I visited Mitla, just minutes outside of Oaxaca. Mitla is one of the most beautiful archaic architecture of America. And the site says where is the entrance and exit of Eternity. Mitla is a door more than a ceremonial city and for her, have the locals, everyone crosses, although no one knows who has returned. The palaces of Mitla are among the most sophisticated of antiquity. It highlights the monuments decorating their exceptional beauty, geometric design, skill and movement combine in the decorations shaped like a puzzle, with tiny pieces of carved stone together without the use of any type of stucco, which are way fretwork designs with its own meaning. English chroniclers when referring to the ceremonial architecture of this city, make mixing admiration the fear of recognizing such a dedicated architectural grandeur of death. Today, newly sprung from the earth by the grace of archeology, the city, like thousands of years, is protected by wild dogs at nightfall does not allow the passage to another living being. Writing covered walls carved in stone, like a huge book Mitla only be read using more than the eyes.
The mythology of the founders of Mitla is dragged to a time which we know nothing. The teacher tells Zaachila frames "already sprouted trees instead of fruit, were birds of many colors, which has long nestled in its branches, then fell to the ground and plucked and becoming men." After living two thousand years in the valley, a god revealed to the Zapotec they would be "custodians of the sacred site where ever people come and go." In one of his Codices tells how "they pointed to a spot where you should build a city on the threshold of what is not over." Mitla was born: as a place that guards an entrance to eternity.
In the "Monograph Zapotec", 1982, published by the National Indigenous Institute of Mexico, I read: "Despite the predominance of Catholicism, there are many villages that are still some pre-Hispanic beliefs, as referred to certain animals presumably totem, called ketones, which is connected with a person from birth ... There are animals like the dog wardens, who cares which hosted the most important religious and burial of the entire area Zapotec, Mitla, considered holy ground and entrance to the underground world and eternity, located in the center of the Earth. " Zapotec totemic religion inspires a pool of his tribal name, because they themselves never named "Zapotec." Believe that all things have a magical name (as it seems) not to act, that is how their newborns, as well as official name, other names have only their parents animist and midwives know: this is an existing practice, and human secret name so it is in their surroundings, so you do not know the actual name of Mitla inventing many hypotheses to explain the designation of the site where the first thing that hits are the carved stonework, considered among the most beautiful ancient America gave us. In the "Vocabulary", Cordoba, reads, in Zapotec voice, one of the names of the sanctuary was to Lichbaana or Vohobaana (sacred place, house of worship). According to Burgos, the proper name Mitla Yoho-pechelichi-pezelao or Pezelao strength, the supreme oracles Gentiles. "
For Contemporary chroniclers of the Zapotec people, like my friend Don Marcos de Zaachila, "Zapotec site called Lyobaa, which means place of rest. Mitla is the residence of the high Huijatóo, high priest of Eternity. He guards the door through which life enters and exits into existence. Mitla's real name is unpronounceable, of such force that he says it drops dead. " The word Mitla is Náhuatl, the Aztecs called to the site or below world Mictlan, the land of the dead. Mictlan was a mystical place in the philosophical conception of the Mesoamerican peoples, the contact point between life and death, between earth and nothing existed in Mesoamerica several hits on the domains of Mictlan, but the door Mitla was legendary. Religious mysticism that evoked the site to the Indians of the sixteenth century did the English call him San Pablo Mitla, in honor of this saint who lived in a cave. But they certainly raised concerns they did not understand, preferring to forget, going almost unnoticed, only recorded damage at the site of the Christian church was built on one of these monuments to death in his time place of worship of deities Zapotec sacred burial of kings and high-ranking priestly or Teozapotlán Zaachila. In any case, is one of the few archaeological sites coming the classical period, the English reached to see in operation, but could never understand. It was impossible to understand what Don Juan Carlos Castaneda tried to teach: that the only company we know that life is precisely the death, who can teach us not to cling to a person, object or feeling. Following completion of the task from.
Mitla is located 40 kilometers southeast of Oaxaca City in the valley of Tlacolula trucks and taxis are Regular route. Only you can see daylight, because apart from the pack of dogs that took at sunset, is banned from entering after 17:00.
Not much remains of Mitla, but it is exceptional. Four groups of buildings have been rescued, of which nothing remains but broken walls and in the second group, surrounded by four rooms, two subways (as Mitla road was all provided by underground). Around a courtyard, is the most important groups of buildings that remain, one of them is the Hall of Columns, a hallway leads to the Palace of the board, which can be seen on the walls of the noblest works of ancient art: ten thousand pieces of pottery that are adjusted in an own language frets, representing elements such as water, wind, and phenomena like rain. This architectural plan (A central courtyard and four rooms on its side), is observed in almost all Mesoamerican architecture. Taken together, form the so-called Cross of Quetzalcoatl or Quincunx, the five items comprising the courtyard and the four rooms, this cross is the focal point that symbolizes the meeting of heaven and earth, the "co" or esoteric center, and also is the classical figure of Venus as morning star. Is applied here the powerful Law Center, which transforms the creative alliance between matter and spirit ...
on a road underpass, leads to the residence of the "Wishing Stone" and "Column of Life." If the gentle reader ever visit Mitla do not forget to embrace this so-called "Column of Life" is some monolithic column that supports the center of the cross-shaped roof, which is said in it one can measure their own arms around her longevity: the distance exists between the fingertips is the proportion (relative to the top of the body) of the measurement of time left to live. I must confess that I did, and was told that even I can live about forty years, which made me very, very happy. At the end of this visit, cited in published which ceremonial offering, a short verse of Gabriela Mistral, when he was here, on the threshold of eternity:

"In the field of Mitla
one day cicadas, the sun, running,
I bent down a well and an Indian came
to hold onto the water,
and my head, like a fruit,
was within his palms.
drank what I drank,
it was her face with my face,
and in a flash I knew
meat Mitla be my caste. "

I must say, however, it is little wonder so many in Oaxaca before one of the most unique experiences I have lived: when Huautla de Jimenez met the wise María Sabina, many years ago. And this is about the receipt of this book "Oaxacan makes its mark" I was filled with nostalgia, I returned to a time in my life, no doubt, made me better, when, with pleasant surprise, I see in this exceptional work, as a result of these Women of Oaxaca Navigating the time, including my story of that encounter with the priestess Maria Sabina, the knew of fungi, the woman who looks inside, woman daylight; woman moon morning star wife, woman cool mist, wet spray women, women of the dawn; woman beneath dripping tree; woman neat clothes, woman whirlwind; woman who can not lie; woman well, women working, you can enter and leave the realm of death, which comes under the water looking from the opposite bank, the woman who springs; the woman who cleans, the woman who manages, the woman boat, the woman in the White Paper, which came from the birthplace of people, wherever the flowers, the woman from whom I learned that the essence is what makes equal all beings, who differ among themselves depending on their proximity or remoteness with respect to that essence.

© Waldemar Verdugo Fuentes. Chilean writer

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