THE DESKED MEMORY
Editorial Dalya, 2018THE DESKED MEMORY
FOREWORDTo name Juan Rafael Mena Coello is to name La Isla, because he is inseparable from the corner of the Gordo, the araucarias and the House of Culture, where he made his dream of living, of living among books, come true. His image still appears in the patio of that old College of the Moors, during a weary afternoon in May in which silence had to be applied, unloading impatient and audible purges through the room. In that courtyard Juan Mena, as we know him, looked around and then stopped for a moment and look up those walls that shored the sky. In that redoubt it seemed to look for the lost metaphor, hidden among the shreds of verdigris of the brick paving or hooked to the warm whistle of the east. Then he would enter to continue with his work. Perhaps he was not aware that he was beginning a trajectory that was illuminating with correctly measured and accented verses, with a rigorously revised language to choose the right voice that would make him flee from clichés and stereotypes.In the works of Juan Mena we find the inner poet, who has been strengthening his world by defining it, distinguishing it by the exclusively personal.With the word has been communicating the reflections of his communion with loneliness, with isolation where he has been a conversationalist and listener of himself, reflections that are grouped into almost fifty titles.Few trajectories are in La Isla as consolidated as that of Juan Mena. More than fifty years endorse it, initiated with the Novelties by contemporaneity, that generation of young poets born after the civil war and from which it detaches itself to follow the line from which they departed, realism, very appreciable in their work. The language, therefore is not sumptuous but so simple that page by page is showing a photograph that the reader captures to deepen in it, imperceptible and inseparable procedure. In this work the poet resorts to prose, a style that dominates with ease as we know from other previously presented titles, a style that does not favor a departure from the lyric, but quite the opposite.THE REMOVED MEMORY is the past of The Island portrayed in a set of literary stories seen from the illusions of an aspiring poet, witness of some stories inscribed in the postwar period, the time in which he had to grow and train as a citizen in a society subject to conventions. Therefore, both the character and the narrator retrace the memory to meet those times gone so marked. That is why the narrative runs between the first and third person, differentiating the look of the character, Cantigo, as the projection of himself, and the look of the narrator as an observer of the story that is told in each of these stories. Stories narrated with sketches that are supported by short, forceful and plastic descriptions that captivate the reader by the details, while the plot runs through a frequent, daily, real and particular environment, appreciating the fascinating duel that is established between the lyrical and the narrative .It is the result of the effort, the search and the meeting of the path by the lyric that the narrator began in his youth, where the reading that filled his isolation shone, a place where he lived what was later transformed into love for literature, love that the narrator was able to channel, describe and transmit language and symbols that explained his own destiny.The DESIGNED MEMORY combines the conception and reflections of an era that does not color the color of oblivion, because it is still alive for those who were, for the pain of not having them, the dull and latent pain of absence. It is, therefore, a gesture of courage to meet the self that was born enlightened by words, the real and committed self that was facing reality as it grew, when he discovered that writing saved him from frustration, disappointment, the disillusionment, of those specific moments that make up life, that encourage a return to be able to continue forward.To read a book by Juan Mena is to meet with poetics, with the rigor of working it, comparable to the dedication of a goldsmith. It belongs to that group of authors who once known always return, whose books are enjoyed in the hand, appreciating the sour smell of paper when opened. Books that age taking their place on the night table.Adelaida Bordés BenítezParagraph for the back cover.THE REMOVED MEMORY is the past of La Isla portrayed in a set of literary stories seen from the illusions of an aspiring poet, Cántigo, witness of some stories inscribed in the postwar period, the time in which he had to grow and train as a citizen in a society subject to convention
Editorial Dalya, 2018THE DESKED MEMORY
FOREWORDTo name Juan Rafael Mena Coello is to name La Isla, because he is inseparable from the corner of the Gordo, the araucarias and the House of Culture, where he made his dream of living, of living among books, come true. His image still appears in the patio of that old College of the Moors, during a weary afternoon in May in which silence had to be applied, unloading impatient and audible purges through the room. In that courtyard Juan Mena, as we know him, looked around and then stopped for a moment and look up those walls that shored the sky. In that redoubt it seemed to look for the lost metaphor, hidden among the shreds of verdigris of the brick paving or hooked to the warm whistle of the east. Then he would enter to continue with his work. Perhaps he was not aware that he was beginning a trajectory that was illuminating with correctly measured and accented verses, with a rigorously revised language to choose the right voice that would make him flee from clichés and stereotypes.In the works of Juan Mena we find the inner poet, who has been strengthening his world by defining it, distinguishing it by the exclusively personal.With the word has been communicating the reflections of his communion with loneliness, with isolation where he has been a conversationalist and listener of himself, reflections that are grouped into almost fifty titles.Few trajectories are in La Isla as consolidated as that of Juan Mena. More than fifty years endorse it, initiated with the Novelties by contemporaneity, that generation of young poets born after the civil war and from which it detaches itself to follow the line from which they departed, realism, very appreciable in their work. The language, therefore is not sumptuous but so simple that page by page is showing a photograph that the reader captures to deepen in it, imperceptible and inseparable procedure. In this work the poet resorts to prose, a style that dominates with ease as we know from other previously presented titles, a style that does not favor a departure from the lyric, but quite the opposite.THE REMOVED MEMORY is the past of The Island portrayed in a set of literary stories seen from the illusions of an aspiring poet, witness of some stories inscribed in the postwar period, the time in which he had to grow and train as a citizen in a society subject to conventions. Therefore, both the character and the narrator retrace the memory to meet those times gone so marked. That is why the narrative runs between the first and third person, differentiating the look of the character, Cantigo, as the projection of himself, and the look of the narrator as an observer of the story that is told in each of these stories. Stories narrated with sketches that are supported by short, forceful and plastic descriptions that captivate the reader by the details, while the plot runs through a frequent, daily, real and particular environment, appreciating the fascinating duel that is established between the lyrical and the narrative .It is the result of the effort, the search and the meeting of the path by the lyric that the narrator began in his youth, where the reading that filled his isolation shone, a place where he lived what was later transformed into love for literature, love that the narrator was able to channel, describe and transmit language and symbols that explained his own destiny.The DESIGNED MEMORY combines the conception and reflections of an era that does not color the color of oblivion, because it is still alive for those who were, for the pain of not having them, the dull and latent pain of absence. It is, therefore, a gesture of courage to meet the self that was born enlightened by words, the real and committed self that was facing reality as it grew, when he discovered that writing saved him from frustration, disappointment, the disillusionment, of those specific moments that make up life, that encourage a return to be able to continue forward.To read a book by Juan Mena is to meet with poetics, with the rigor of working it, comparable to the dedication of a goldsmith. It belongs to that group of authors who once known always return, whose books are enjoyed in the hand, appreciating the sour smell of paper when opened. Books that age taking their place on the night table.Adelaida Bordés BenítezParagraph for the back cover.THE REMOVED MEMORY is the past of La Isla portrayed in a set of literary stories seen from the illusions of an aspiring poet, Cántigo, witness of some stories inscribed in the postwar period, the time in which he had to grow and train as a citizen in a society subject to convention
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