Although many modern conveniences such as Internet access are available there today, Cocula still retains much of its original appearance: historic buildings line the streets and the central plaza remains the heart of town. Automobiles are the primary means of transportation, but horses are still used in town and in the country.
Many roads are unpaved. In the central plaza, between the church and city hall, stands a life-size statue of Dr. Born there in , Nandino retired to Cocula after a career as a respected physician and poet in Mexico City.
On his death in , he left his furnished home, complete library, and the rights to his literary output to his hometown. The Mexican Revolution forced Nandino and his family to relocate temporarily to Guadalajara where he completed his secondary studies in followed by his return to Cocula Nandino After several unsuccessful attempts at employment, Nandino eventually returned to Guadalajara, completed preparatorio college-prep school, a prerequisite for admission to a university and enrolled in medical school in Nandino It was at this time that Nandino made a conscious decision to pursue both poetry and medicine.
The parish church in the background and the bandstand both appear in his novela El Coronelito, In addition to his medical studies, he was able to immerse himself in the literary environment of Mexico City. Nevertheless, through careful discretion, he managed to establish and maintain a successful medical career in Mexico City following the completion of his studies at UNAM in Nandino thus began a long and successful career as physician and poet. Nandino maintained that this helped Villaurrutia become more human, more sympathetic to human suffering Aguilar Triangulo de silencios , Triangle of Silences , confronts issues of religious doubt.
Courtesy Casa de la 3-line haiku and 5-line tanka. In response, medical practice in Mexico City. In addition to his work as physician and poet, Nandino is also remembered for his work with young poets. In addition to these major themes, Nandino frequently addresses issues of solitude, eroticism, and love.
This should come as no surprise from a poet-physician who treated patients during the day and spent the evenings writing poetry in response to those experiences. The autobiography ning before birth, accompanying was published posthumously in Baptized and raised Catholic, Nandino struggled with issues of faith, doubt, religion, and sin throughout his career.
His understanding of God, however, was not the Catholic god of his childhood. Rather, he found god within a pantheistic view of the universe Dauster In his later years, the clergy of his hometown publicly denounced Nandino from the pulpit C. It was not because of his poems about faith and doubt or because of his pantheistic view of god. The ants arrive, the ants enter and give up every peso. January to December December to January, like insects drawn to honey, the poor ants, the devoted ants, come give up all their money.
The theme of love is often addressed in contrasting pairs of presence and absence.
Perhaps what earlier critics had labeled narcissism might now suggest a desire on the part of the poet to see someone like himself, another man, in the mirror. Despite his excellent technique with these forms, Nandino is perhaps best recognized for his use of the nocturne. A Symbiotic Relationship Among U. Indeed, it served as inspiration for much of his work. Working with inmates, whom many would consider the dregs of society, Nandino learned that everyone is capable of both good and evil.
Practicing medicine, Nandino maintained, produced in him a greater sensitivity to literature. Until the very end of his own life, he continued to explore the options of death as pleasure or pain Aguilar I stretch out and also limit myself to the defenseless contour that delivers me to the island of oblivion where one forgets. And so I feel myself divided and at the same time imprisoned by a mold.
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The second circle was made of up Salvador Novo and Xavier Villaurrutia. Finally, Jorge Cuesta and Gilberto Owen formed the third subgroup. In addition to this core of eight poets, Forster has labeled four poets as fringe members: Carlos Pellicer, Octavio G. Clearly, the very inner circle of members had been friends since high school and then introduced other friends to the group. In his autobiography, Nandino describes his deep friendship with Xavier Villaurrutia, and many other members of the group.
Writer such as Borges and Neruda, who were just beginning their literary careers at that time, were also published. Of particular note in the journal were translations of French and English writers. Perhaps the greatest similarity is that of themes — life, death, love — however no single generation has a monopoly on these. Because of his longevity and his continuous literary output up until the very end of his life, he lived to see himself rediscovered. Many of his early works were long out of print, but were released in new editions during the early and mid s.
Estaciones and the literary workshops In addition to his work as poet, Nandino is also recognized for his work as editor and publisher. The journal attracted critical attention in the U. These reviews also noted the importance of the journal to young writers. His attitude toward young people was very radical; he gave them the books and journals that they would need. Here he continued his work with young writers including Jorge Esquinca.
These workshops continued, with some interruption, until when he settled permanently in his home town of Cocula and established similar workshops there. Because of his continued dedication to helping establish young writers, the National Prize for Young Poets was named in his honor. I left forgiven and both of us ended up crying However, beginning with Eternidad de polvo Eternity of Dust, continuing with Cerca de lo lejos Close to Faraway, and culminating in Erotismo al rojo blanco White Heat Eroticism, , Nandino began to write his way out of the literary closet as well.
There is a high price on maintaining erotic dissidence; with the hostility and taunts, one needs to adopt a language that is seemingly neutral, one that continuously describes the most personal life experiences and offers them as an intense abstraction. The earlier language of the physician is still obvious, but the veiled, coded language has given way to simple, direct expression. His work is generally described as accessible and unadorned. His long life allowed him to explore these themes throughout his writing career.
Cerca de lo lejos, , showed a radical change in style for Nandino. The long, formal nocturnes had been replaced with short, free-verse poems. Nearly deaf and blind, he lived alone, in a private world. He rose at and retired by in the evening, and wrote, as he pleased, in between.
He ignored phone calls from Mexico City and declined all invitations to attend literary events Hernandez.
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He did, in fact, live his life exactly as he wanted, writing his poems until the very end. Personal interview. Cocula, Jalisco, Mexico. July 8, Aguilar, Enrique. Cohen, Sandro. Foster, David William. Westport, CT: Greenwood Press, Elias Nandino. July 11, Montelongo, Daniel. Cocula, Jalisco, Mexico, July 8, Montemayor, Carlos. Sandro Cohen, ed. Cerca de lo lejos. Erotismo al rojo blanco. Juntando mis pasos. Mexico, DF : Editorial Aldus, Mexico, DF : Nueva Voz, Sonetos — Todos mis nocturnos.
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Guadalajara, Jalisco: Ayuntamiento de Guadalajara, Por ella fui lascivo y no he dejado puro ni un poro de mi cuerpo. In my lust for life not a single pore of my body remains pure. In the absence of hands, a new touch will spring forth to graze the intangible presence of our bodies. An oblivion of words will form a precise language to understand the glances of our closed eyes. Sleeping here in bed, our bodies will be like children huddled together as fear approaches Keep sleeping without seeing me, awake here beside you. Y en el azul que esconde la evidencia yo descubro tu faz inolvidada, y sufro la presencia de tu ausencia.
And in the blue that hides the proof I discover your unforgettable face, and suffer the presence of your absence.
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You are in me, a fervent pulse of my trembling nervous system, in my veins of stormy instinct, in the oceans of insomnia in my head. You are outside of me, like the slope of vague voices, of sobs, of edges of dark secrets, and the touch of absent caresses. You cover and uncover me, leaving no space without your presence, no atom without trace of your breath. Further than the names and touches, than the gray spider of the pubis, than the red mollusks of tongues. Further than voice and vice, than strong chains of heredity, than the clock of age, of innocence.
Further than the terror of shadows, than the luminous pulse of stars, than the subterranean scream of blood. Further than the torture of torsos, than the sea waters of kisses, than the blue waves of remembering. Further than the prison of embraces, than the eternal clamor of hope, than the smell of earth and branches.
Further than frankness and cynicism, than the corporal tree surrounding around us, than the unquenchable thirst that defeats us. Tan lejos me distancio de mi mismo cuando estoy a la orilla de tus ojos que en la carera de mis pensamiento lo olvido todo Tan lejos es el mundo que me inspiras, que tengo miedo de seguir volando por sendas de dolor y de misterio y quedarme solo Es mejor que te quiera y no te piense, cuerpo a cuerpo vencidos por la llama del amor que encadena nuestras vidas.
Muy cerca Es mejor que me quede emparedado en tu abrazo carnal que me destroza, en tu instinto animal que me consume.
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Further than the network of senses, than the exciting poison of hysteria, than the sweet bitterness we feel. Further than where my thoughts roam when I forget the presence of your form and I shape you in the air of my dreams. Almost at the cosmic border of beginning, in the mind of God, in the disturbing unease of light and silence.
I travel so far from myself when I am on the shore of your eyes, that my racing mind forgets everything So close I no longer want to escape my body, or turn you into my dreams. Si arrastro lo que soy y lo llevo por el fuerte declive del silencio sin poder descansar con mis palabras. Si me pesa la vida y ya no puedo la piedra de mi historia acumulada.