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MARCH 2009

MARZO 2009

Poetry / PoesaPoetry / Poesa

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Fiction / RelatosFiction / RelatosLL II TT EERRAATTUURREE// LL II TT EERRAATTUURRAA

EENNGGLL II SSHH // EE SSPPAAOOLLMAGAZINEMAGAZINEYAREAHYAREAH

ISSN 1989-3191

Museums / MuseosMuseums / Museos

Gardens / JardinesGardens / Jardines

EntrevistaEntrevista

MMYYTTHHSS // MM II TTOOSS

KabbalahKabbalah

Jorge Luis BorgesJorge Luis Borges

RReevv ii eewwss // CCrr ii tt ii ccaass

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The Yareah Magazine / Reviista Yareahll of the works included in the Yareah Magazine are propiety by therespective authors.Do not redistribute any of them without the

permission of their respective owners. The Yareah Magazine.

Todos los textos y sus respectivos derechos son propiedad de los auto-res. No redistribuir sin el consentimiento de los mismos.

La Revista Yareah.

A

LITERATURE LITERATURE

LITERATURALITERATURAJ.L. BorgesandKabalah.

Martn Cid, Boaz Huss, GustavoFranco y Cristina Ochoviet,

Barbara Fritz Vroman, SergioFritz Roa, Tim Jones, Alberto

Javier Maidana, Tosha Stimage,Chandrahas Choudhury, Alix

Otoole, LostParadises/ParasosPer-didos. Silvia Cuevas MostaceroElartedesaberescuchar.Ana

Garca NovoaAmberWaves. Linda HallDadeGraduacin!Sergio

RodrguezPoetry/Poesa.Marianne

Dyson, Joseph Mailander, Anto-nio Ruz Bonilla, Ulises Varso-

via

arts arts

artearteThetripofRafalKarcz

ElViajedeRafalKarcz.Isabeldel Ro.

ArtistoftheMonth/Artista

delmes.Emma lvarez, ErlaAxels.

Colours/Colores.SolangeSierra Jimnez, David Webb.Interview/Entrevista.

Amanda PenrosePhotography/Fotografa.Miguel ngel Valero Lpez

LittleGreatMuseums/Peque-osGrandesMuseos.Richard

Wagner Museum Bayreuth(Germany))

MagicGardens/JardinesM-gicos.The Alphabet of trees

(III), Centauro Quirn

myths myths

mitosmitosTheGhostof

MinnieQuay.Stewart Stern-berg

ElGolemylaFlexibilidaden

loslogotipos.Luis MaramCarnival.Leah Whitehorse

MasaGriscontraMusculoRojo.Rodrigo

Martn

Music Music

MUSICAMUSICASashaBoldachevDavidCourtney

Reviews Reviews

CRTICASCRTICASRojoalma,negro

Sombra.Miguel ngel ValeroLpez

TheGardenofForkingPaths.Fidel Fajardo-

AcostaTellBorges

IfYouSeeHim.Michael Sedano

HOMO SVM: HVMANI NIHILHOMO SVM: HVMANI NIHIL

A ME ALIENVM PVTOA ME ALIENVM PVTOJuan Ignacio Guglieri

YAREAH MAGAZINEYAREAH MAGAZINE

In the middle of the 16th century, a dis-tinctive literature of the Spanish one ap-

peared in El Plata (Argentine). Its firstimportant names were Matas Rojas deOquendo and Pedro Gonzlez de Prado. Theywere influenced by oral aboriginal poetry(specially by Diaguita- Calchaqu, a group ofindigenous people settled in Tucumn) and

Spanish traditions.A mediados del siglo XVI, una literaturadiferenciada de la espaola apareci en

El Plata (Argentina). Sus primeros nombresconocidos fueron Matas Rojas de Oquendoy Pedro Gonzlez de Prado. Estaban influen-ciados por la poesa oral aborigen (especial-mente por un grupo indgena asentado enTucumn: Diaguita Calchaqu) y la tradicinespaola.

Argentine LiteratureArgentine Literature(I) (I)

YAREAH MAGAZINEYAREAH MAGAZINE LL ii tt ee rraattuurree// LL ii tt eerraattuurraaopinions - opiniones

YAREAHMAGAZINE 4

a cbala es un mtodode aproximacin a la rea-lidad por medio de La Palabra y

sus 22 smbolos mgicos.Fue precisamente el autor argentinouno de los pocos capaces de detenerese tiempo en una obra literaria, el justopara corregir su epitafio en una tumbafingida:

Jorge Francisco Isidoro Luis Borges(Buenos Aires, 24 del 8 de 1899 - Gine-bra, 14 del 6 de 1986.El rbol cabalstico posee 10 sefirot y 22senderos y 4 mundos.No hay tiempo en la obra de Borges,slo las palabras que repican en elrumor de los siglos detenidos.Como no hay tiempo en la obra caba-lstica, slo las palabras que repican enel rumor de los dioses sin rostro.22 + punto + coma + espacio = 25 sm-bolos ortogrficos en la Biblioteca deBabel.Y llam Pitgoras Matemtica al cielo

que todo lo con-templa y todo lo vey todas las lenguashabla.Y llam Dios Babel

al lugar en el quetodas las lenguas se confundieron.Y llam Borges Jaromir Hladk a un bi-bliotecario de salas hexagonales ymuertas y fras y matemticas que con-tiene exactamente veinticinco elevado ala un milln trescientos doce mil librosde veinticinco smbolos.A cada letra hebrea se le hace corres-ponder un nmero.La gematra es el aspecto de la cbaladedicado a investigar las relacionesexistentes entre las palabras del mismovalor numrico.

Y dijo alguien: que cada sala sea un he-xgono y cada hexgono contenga 640libros:6 + 4 + 0 = 10 = 1. Uno es consideradopor los cabalistas el nmero de Dios.Dicen los rabinos que Dios mir la Torahantes de crear el mundo.Porque no hay azar en el libro del quetodos los libros nacieron.

Porque no hay azar en el libro que todaslas palabras contiene.Porque cada sala contiene 640 libros.Nacimiento de Borges: 24 del 8 de 1899.2 + 4 + 8 + 1 + 8 + 9 +9 = 41Muerte de Borges: 14 del 6 de 1986. 1+ 4 + 6 + 1 + 9 + 8 + 6 = 3541 + 35 = 76 = 7+6=13Dios es uno se resume en la repeticinde la palabra ejat, "uno" ya que su valorgemtrico es: 1 + 8 + 4 = 132x13 = 26 = IHVH

La Biblioteca de Babel fue un relato es-crito por Borges en 1941.1 + 9 + 4 + 1 = 13Tal vez, el eco cansado de las paredeshexagonales devuelva al mstico La Pa-labra y el orden, o tal vez no. El mstico contempl una sombra en lapared que sumaba 13.En su crcel de palabras y nmeros, elmstico record su nombre: Jaromir Hla-dk.Ahora, siempre, record que una balaatraves su pecho y recod estar ju-gando en una biblioteca imaginaria yestar leyendo y estar vivo y estar, por fin,ver caer la nieve sobre su cadaver.

L

El mstico abri un libro en unaEl mstico abri un libro en unapequea sala en una bibliotecapequea sala en una bibliotecaeterna.eterna.Fue precisamente uno de los lFue precisamente uno de los l --timos personajes borgeianos,timos personajes borgeianos,Jaromir Hladk, quien, a puntoJaromir Hladk, quien, a puntode ser fusilado, logra detener lade ser fusilado, logra detener labala por tanto tiempo como nebala por tanto tiempo como ne --cesita para corregir mentalcesita para corregir mental --mente su obra literaria.mente su obra literaria.

La Biblioteca de BabelLa Biblioteca de BabelMartn Cid

Erla Axels39x41,5cm. Mixed media

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINE

abala is a way of studying reality:The Word and its 22 magicalsymbols are its tools.

The Argentine writer was precisely one ofthe few authors who could stop the lite-rary time, just to correct his epitaph ona false grave:

Jorge Francisco Isidoro Luis Borges (Bue-nos Aires, 24th of August, 1899 - Genve,14th of June, 1986.The Kabalistic Tree has 10 sefirot and 22ways and 4 worlds.For Borges, Time is words, only wordswhich speak to the silent centuries.For kabala, Time is nothing but wordswhich speak to faceless gods.22 + point + comma + space = 25 ortho-graphic symbols in The Library of Babel.And the sky which looks at the Creationand sees everything and speaks everylanguage was called Mathematics byPythagoras.And the place, where every language wasconfused, was called Babel by God.And the librarian of hexagonal dead coldrooms, which contends exactly twenty

five raised to one million three hundredthousand and twelve books of twenty fivesymbols, was called Jaromir Hladk byBorges.Every Hebrew letter has its correspondingnumber.Secret geometry is the branch of kabalawhich looks into relationships amongwords of a similar numeric value.

And someone said: every room shall be ahexagon and every hexagon shall con-tend 640 books:6 + 4 + 0 = 10 = 1. According to cabalists,One is Gods number.Rabbis say that God looked at the Torahbefore creating the world.Because nothing is by chance in the bookwhich is the father of other books. Because nothing is by chance in the bookwhich contends all of the words.Because every room has 640 books.Date of Borges birth: 24/8/ 1899. 2 + 4 +8 + 1 + 8 + 9 +9 = 41Date of Borges death: 14/6/1986. 1 + 4+ 6 + 1 + 9 + 8 + 6 = 3541 + 35 = 76 = 7+6=13

God is one is summarized repeating theWord ejat one since its geometric valueis: 1 + 8 + 4 = 132x13 = 26 = IHVH

The Library of Babel was a short story byBorges, written in 1941.1 + 9 + 4 + 1 = 13Maybe the tired echo of those hexagonalwalls will return The Word and the orderto the mystic man or maybe it will not.The mystic man looked at his shadow onthe wall which summed 13.In his prison of words and numbers, themystic man remembered his name: Jaro-mir Hladk.Now, always, he remembered a bulletwhich went through his chest and he re-membered being playing in an imaginarylibrary and being reading and being aliveand finally, seeing the snow falling on hiscorpse.

K

In a small room, a bookIn a small room, a bookwas opened by a mysticwas opened by a mysticman all that happeman all that happe --ned in an eternal lined in an eternal li --brary.brary.He was one of the lastHe was one of the lastBorges characters,Borges characters,Jaromir Hladik, who -inJaromir Hladik, who -inthe point of beingthe point of beingshot- stopped a bulletshot- stopped a bulletto correct his imagito correct his imagi --

nary literary work.nary literary work.

Martn Cid

Martn Cidwas bornin Oviedo

(Spain), in1976. He haspublised twonovels Ariza(2008, AlcalP u b l i s h e r s )and TheAshes Cen-tury (2009,Akron Publis-hers) andmany short stories, some of them are com-piled in two books: "Beyond the mirror"and "Hard works". He is the editor of the Yareah Magazine

Martn Cid naci en Oviedo el 26de junio de 1976. Novelista yautor de dos novelas (Ariza,

2007 editorial Alcal y Un Siglo de Ceni-zas, 2008 editorial Akrn), ha publicado ennumerosos medios electrnicos y en papel.Se dedica a tiempo completo a la literatura,desde la escritura no slo de novela sinode ensayos y artculos de corte estricta-mente literario.Nunca ha trabajado (ni lo har) en otra ac-tividad que la estrictamente literaria.Es director de la revista literario-cultural Ya-reah (http://www.yareah.com).Orgulloso fumador de pipa.

Martn Cidhttp://www.martincid.com

MartnCid

opinions - opiniones

The Library of BabelThe Library of Babel

Emma AlvarezThe Sign Of The Dragon

YAREAHMAGAZINE 5


YAREAHMAGAZINE 6

n various New Age movements,especially in Israel, but also else-where, there is interest in and use

of Kabbalistic themes. Articles about Kab-balah are published in the main IsraeliNew Age Journal Hayyim Aherim, sec-tions and forums dealing with Kabbalahand Jewish Mysticism appear in many He-brew New Age portals and web sites, andmany Kabbalistic services and productsare sold in the major annual New Age fairin Israel, `Alternativa`.Many of the leaders and clients of thenew Kabbalah movements belonged pre-viously to New Age movements, andmany still participate in New Age activi-ties. Thus, for instance, Yigal Aricha, theauthor of the 1996 best seller `Kabbalahbe-Or Bahir`, published a typical New Agebook, entitled `Passport for the time tra-veler, one year earlier. Rabbi Michael Leit-man, the leader of the Bnei BaruchKabbalah movement, who immigrated toIsrael from Russia in the 70's, and studiedwith R. Yehuda Ashlag's son, Rabbi Ba-ruch, recently sponsored public scree-nings of the recent New Age Movie,`What the Blip Do We Know`. A center for

alternative medicine,called Elima opera-tes in Or ha-Ganuz,a Kabbalistic com-munal village in theupper Galilee,whose membersstudy and live accor-ding to the Kabba-lah of R.YehudaAshlag Several New Kabbalah movements inte-grate explicit New Age terminology andthemes in their doctrines and practices. R.Shraga Philip Berg, who studied Kabbalahwith R. Yheuda Ashlag's principal disciple,R. Yehuda Brandwein, and founded theKabbalah Center after his death, usedtypical New Age terminology in his veryfirst publications in the 70`s, and identi-fied the messianic era as the Age ofAquarius. New Age themes appear also inthe cultural productions of R. MichaelLeitman and Bnei Baruch group, whoconcentrate on the study and dispersionof R. Yehuda Ashlag`s Kabbalah. The be-lief in consciousness` power to change re-ality, a typical New Age idea, is central to

t e a -chingof Bnei Baruch (as well as to the KabbalahCenter). Like many New Age authors,Leitman (similar to Aricha and Berg) usesscientific vocabulary extensively, andclaims that his Kabbalistic teachings arecompatible with contemporary science.

The New Age characteristics of contem-porary Kabbalah are partially explainedby the exposure of the producers andconsumers of New Kabbalah to New Ageculture. Yet, I believe that the resem-blance between the New Age and con-temporary Kabbalah is dependent notonly on the adoption of New Age themes

I

The New Age of Kabbalah andThe New Age of Kabbalah andPostmodern SpiritualityPostmodern Spirituality

Boaz Huss

In his fantastic study, Boaz HussIn his fantastic study, Boaz Hussexplains the relationship betweenexplains the relationship betweenKabbalah and Postmodern SpiriKabbalah and Postmodern Spiri --tuality. Here, we are going to intuality. Here, we are going to in --clude some significant parts of theclude some significant parts of thestudy but you can see the comstudy but you can see the com --plete text in the websiteplete text in the website



by contemporary Kabbalists, but also onthe postmodern nature of both thesephenomena. New Age culture, Contem-porary Kabbalah, as well as various othercontemporary New Religious Move-ments, are, as I will turn to argue now, anexpression of what Wouter Hanegraafftermed `Postmodern Spirituality`. In contradistinction to the centrality of`belief` in modern religion movements(which is dependent to a large degree onthe Christian protestant perspective),postmodern spirituality is primarily prac-tical knowledge. New Age, as well as Con-temporary Kabbalah concentrates mostlyon practices, such as meditations, spiri-tual and physical exercises, proper nutri-tion, and healing. Postmodern spiritualityoffers its consumers techniques and spi-ritual experience rather than articles offaith, myths, or grand narratives. The collapse of grand narratives in pos-tmodern culture explains also the eclecticand pluralistic nature of many of the NewAge, and New Kabbalah groups, who de-rive their practices and techniques from alarge variety of sources. The legitimacyand value of practices in postmodern spi-rituality is dependent on their perceptionas efficient rather than on their belongingto a compelling and authoritative reli-gious or ideological system. Observers of the postmodern condition

describe a major feature of postmodernculture by the terms `pastiche`, the imita-tion without irony of previous styles, and`bricolage`, the combination of previouscultural productions without concealingtheir origin. These features comes to thefore in the eclectic and syncretistic natureof New Age and Contemporary Kabba-lah, that re-cycles and re-combines sig-nifiers and practices taken from a widervariety of sources, without concealingtheir origin, or trying to integrate theminto a melting pot of a unified grand na-rrative. The blurring of distinction bet-ween `high` and popular culture, which isa distinct feature of postmodern cultureis expressed in the integration of scientificterminology with popular practices, aswell as in the blurring of distinctions bet-ween religion and show business whichare typical to New Age and contemporaryKabbalah. Thus, we find in postmodernspiritual culture productions a combina-tion of diverse themes such as Tarot cardsand Quantums, Sefirot and Chakras, Popstar celebrities and Noble laureates. Finally, I would like to observe the con-nection between postmodern spiritualityand its post industrial, global capitalisticcontext. The spiritual practices and pro-duction of the New Age and of contem-porary Kabbalah are marketablecommodities, integrated into global Ca-

pitalisms general commodity pro-duction. Many Postmodern spiri-tual movements, includingKabbalistic ones, are successfulglobal business enterprises thatmarket their spiritual services andproducts for a considerable price,making the most of the adverti-sing and marketing possibilities oflate Capitalism technology andcommunication systems. Thecommodification and marketingof Spirituality and Kabbalah are ri-diculed and rebuked by the oppo-nents of New Age andcontemporary Kabbalah. Yet, thisnegative attitude is dependent onthe modernist perspective that as-pires to separate the `religious`and ` the spiritual` from the econo-mic and political arena. The cultural

logic of late capitalism, which is expressedin postmodern spirituality, defies this di-vision, and does not see a contradictionbetween economic and spiritual value.

Prof. BoazH u s s ,Ph.D. tea-

ches Kabbalahat the Goren-Goldstein De-partment ofJ e w i s hThought atB e n - G u r i o nUniversity ofthe Negev.He is an ex-pert of va-rious areas of Kabbalah, including theZohar and contemporary Kabbalah. His re-cent publications include: Like the radianceof the Sky: Chapters in the Reception His-tory of the Zohar and the Construction ofits Symbolic Value, Ben Zvi: Jerusalem,2008; The New Age of Kabbalah: Contem-porary Kabbalah, The New Age and Pos-tmodern Spirituality Journal of ModernJewish Studies 6, 2007; `"All you Need isLAV": Madonna and Postmodern Kabba-lah`, The Jewish Quarterly Review 95, 2005.

Boaz [email protected]

BoazHuss


Emma AlvarezWatching Val d'Aran

YAREAHMAGAZINE 7


YAREAHMAGAZINE 8

ay dos concepciones del infinito enmatemtica, el infinito potencial y elinfinito actual, que podran estar

emparentadas con el Devenir heraclitianoy con el Ser parmendico. Consideremos la sucesin de los nmerosnaturales: 0, 1, 2, 3 En ella no apareceningn nmero que sea infinito, el infinitoaparece como posibilidad: decimos queel conjunto de los nmeros naturales es

potencialmente infinito porque si pensa-mos en un nmero muy grande alcanzacon sumarle una unidad para obtenerotro an mayor, y ese proceso se puederealizar indefinidamente. El infinito apa-rece entonces como posibilidad, esto es,en potencia.Esta concepcin es la que invade al ma-temtico griego Euclides cuando postulaen sus Elementos la posibilidad de pro-

lon-g a r

una recta tanto como se quiera: el infinitose expresa, implcitamente, como la posi-bilidad de actuar sobre algo finito. Esta vi-sin del infinito fue por mucho tiempo lanica opcin asequible para los seres hu-manos: nombrar el infinito a travs de lofinito en un proceso de abstraccin. Elmundo que nos rodea es un mundo fi-

H

Concebir y entender el infinito ha sido una tarea que ha ocupado a homConcebir y entender el infinito ha sido una tarea que ha ocupado a hom --bres y mujeres de todos los tiempos y que se refleja en diferentes asbres y mujeres de todos los tiempos y que se refleja en diferentes as --pectos de la creacin humana como son la filosofa, la matemtica y lapectos de la creacin humana como son la filosofa, la matemtica y laliteratura.literatura.

MATEMATICA, INFINITOSMATEMATICA, INFINITOSY LITERATURAY LITERATURA

por Gustavo Franco yCristina Ochoviet

Emma AlvarezDreamng


nito, y de lo infinito nicamente se hablaa travs de la imaginacin. Veamos ahora qu se entiende por infi-nito actual:Admitamos que se pueda definir el con-junto de los nmeros naturales, y llame-mos N a este conjunto (desprovisto detoda idea de orden). No tiene ningn sen-tido decir que los elementos de N devie-nen, o que se hacen cada vez msgrandes. Estn todos all, simplemente,actualmente (en el sentido de acto y noen sentido temporal). Todos los conjuntosque estudia la matemtica tienen existen-cia actual en este sentido; los conjuntosestn dados, y con ellos la totalidad desus elementos: no hay nada parecido auna evolucin, a un devenir. [] el infinitopotencial [] es una propiedad de unconjunto y un orden, el infinito actual []es una propiedad de conjunto simple-mente (con abstraccin de todo orden).(Palacios y otros, 1995) Las siguientes citas de Jos Mauro de Vas-concelos y de Jorge Luis Borges nos acer-can, desde la literatura, a la idea delinfinito potencial y del infinito actual.El texto de Vasconcelos, lo hemos extra-do de su novela Rosinha, mi canoa:[...] Meta la mano en la arena finita y sequedaba como cernindola. Sonri; re-cordaba que de chico, cuando estudiabaen la ciudad, en los colegios de sacerdo-tes, el ejemplo que le dieron de la eterni-dad era: `Si un palomo, cada mil aos,llegase a la tierra y se llevara un granitode arena cada vez, cuando se gastara laarena del mundo entero la eternidad anestara comenzando.El texto de Borges es un fragmento del re-lato El Aleph: Aclar que un Aleph es uno de los pun-tos del espacio que contiene todos lospuntos. [] S, el lugar donde estn, sin confundirse,todos los lugares del orbe, vistos desdetodos los ngulos.Y ms abajo contina: Lo que vieron mis ojos fue simultneo: loque transcribir, sucesivo, porque el len-guaje lo es. Algo, sin embargo, recoger.En la parte inferior del escaln, hacia laderecha, vi una pequea esfera tornaso-lada, de casi intolerable fulgor. Al princi-

pio la cre giratoria; luego comprendque ese movimiento era una ilusinproducida por los vertiginosos espec-tculos que encerraba. El dimetro delAleph sera de dos o tres centmetros,pero el espacio csmico estaba ah, sindisminucin de tamao. Cada cosa (laluna del espejo, digamos) era infinitascosas, porque yo claramente la veadesde todos los puntos del universo. Viel populoso mar, vi el alba y la tarde, vilas muchedumbres de Amrica, vi unaplateada telaraa en el centro de unanegra pirmide, vi un laberinto roto(era Londres), vi interminables ojos in-mediatos escrutndose en m como enun espejo, vi todos los espejos del pla-neta y ninguno me reflej, vi en untraspatio de la calle Soler las mismasbaldosas que hace treinta aos vi en elzagun de una casa en Fray Bentos, viracimos, nieve, tabaco, vetas de metal,vapor de agua, vi convexos desiertosecuatoriales y cada uno de los granosde arena [].Lo visto por Borges en el Aleph fue si-multneo, que es la forma de concebirel infinito actual, pero el lenguaje, comonos lo anticipa el escritor, lo puede des-cribir solamente de un modo sucesivo,que escapa a la esencia misma de estaconcepcin del infinito: lo sucesivo estvinculado con el infinito potencial. Aquambas ideas conviven, podramos decir,haciendo un poco de literatura, quedesde el infinito potencial (el lenguaje)se habla del infinito actual (el Aleph). El Aleph es la materializacin del infinitoactual y de la eternidad platnica. (Sercasualidad que Borges utiliza una esferapara representar el infinito actual, lamisma metfora que utiliza Parmnidespara describir el Ser?). Pero lo que el per-sonaje Borges ve en el Aleph slo puedeser concebido por dios, los seres huma-nos slo percibimos, segn Platn, unaimagen mvil de la eternidad a la que lla-mamos tiempo:Pero suceda que la naturaleza del Vi-viente era eterna y no se poda aplicarlaplenamente a lo engendrado. Se le ocu-rri entonces crear una imagen mvil dela eternidad; y, a la vez que organizabacsmicamente el cielo, hizo de la eterni-

dad que permanece en unidad una ima-gen perpetua que marcha de acuerdo anmero, a la que hemos dado el nombrede `tiempo.

BibliografaBorges, Jorge Luis. Obras Completas I.Buenos Aires: Emec Editores, 2002.Palacios, Alfredo; Barcia, Pedro; Bosch,Jorge; Otero, Nstor. Los matematicuen-tos. Presencia matemtica en la literatura.Buenos Aires: Serie Eureka, 1995. Platn. Timeo. Buenos Aires: Colihue Uni-versidad, 1999.Vasconcelos, Jos Mauro de. Rosinha, micanoa. Buenos Aires: Editorial El ateneo,1996.

opi-

Gustavo Francoes profesor deM a t e m t i c aegresado del Ins-tituto de Profe-sores Artigas,Uruguay. Sed e s e m p e acomo forma-dor de maes-tros en los Institutos Normales y como profesorde enseanza media.

Gustavo Franco

GustavoFranco

Cristina Ochoviet esprofesora de Mate-mtica egresada delInstituto de Profeso-res Artigas, Uru-guay. Obtuvo elgrado de Maes-tra en Ciencias enMatemtica Edu-cativa en el Cen-tro de Investigacin en Ciencia Aplicada yTecnologa Avanzada del Instituto PolitcnicoNacional, Mxico. Se desempea en la Direccinde Formacin y Perfeccionamiento Docente ysus intereses en investigacin son la enseanzay el aprendizaje del lgebra en el nivel medio yla formacin de profesores de matemtica.

CristinaOchoviet

Cristina Ochoviet [email protected]

YAREAHMAGAZINE 9


Barbara Fitz Vroman

YAREAHMAGAZINE 10

Jorge Luis BorgesJorge Luis Borgespoetry reveals himpoetry reveals himas a man strugglingas a man strugglingand often agonizedand often agonizedby an inward split inby an inward split inhis soul. He was inhis soul. He was inlove with the now.love with the now.He invokes it overHe invokes it overand over again exquiand over again exqui --sitely in such linessitely in such linesas, the first jasas, the first jas --mine of November...mine of November...the smell of a librarythe smell of a libraryor sandalwood...the smoothness of a filed fingeror sandalwood...the smoothness of a filed finger --nail...a tiger printing a track along the muddy banks. Yet, always rightnail...a tiger printing a track along the muddy banks. Yet, always rightafter he lovingly caresses the now, the materiality, the seeming solidafter he lovingly caresses the now, the materiality, the seeming solid --ness, awe and wonder of existence, he immediately feels compelled toness, awe and wonder of existence, he immediately feels compelled toerase any reality to the words that try to mirror his now. He mourns,erase any reality to the words that try to mirror his now. He mourns,even as he denounces the existence, the apparent realness in which weeven as he denounces the existence, the apparent realness in which wehumanly exist.humanly exist.

The Poetry of Jorge Luis BorgesThe Poetry of Jorge Luis Borges

Emma AlvarezThe Awakening


LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINEopinions - opiniones

YAREAHMAGAZINE 11

he mystic in Borges continuallyrevealed to him the imperma-nence of all that he beheld with

such love, which meant to him that it didnot exist. Just as over and over again hecelebrates the creation before his eyes,over and over again he denies it withsuch words as dream, absent, abstract, fa-ding away, shadow, withdraws, lost, blur,fleeting.He often uses the metaphor of water orriver. In his poem, We are the Time. Weare the Famous, he declares:We are the water, not the hard diamond,the one that is lost, not the one thatstands still.And:Everything said goodbye to us, every-thing goes away.Its quite possible that much of this fee-ling of continual loss was caused in alarge part by poor eyesight, and theeventual blindness that he inherited fromhis father. For he ends this particularpoem with:However there is something that staysHowever there is something that bemo-ans.Which could well be a description of hisown state in his final blindness, whencolor and form had completely been de-nied him. His poem Adam Cast Forth, canalso be interpreted as a poignant expres-sion of his blindness. Was there a Garden, or was the Garden

a dream?Amid the fleeting light, I have slowedmyself and queried,Almost for

consolation, if the bygone periodOver which this Adam, wretched now,once reigned supreme.

Might not have been just a magical illu-sion...

He goes on to conclude:Yet, it is much to have loved, to have

known true joy,To have had---if only for just one dayThe experience of touching the livingGarden.And in this particular poem he does inone stanza affirm the reality that he hasso often declared suspect. Referring tothe Garden he wonders,Might not have been just a magical illu-sionof that God I dreamed. Already its impre-cisein my memory, the clearParadise,But I know it exists, inflower and profusion.If Borges poems wereinformed and ignited byhis failing sight andeventual blindness, theynevertheless address allof us who have ade-quate eyesight, nudgingus to the realization ofhow many ways thereare to be blind besidesthe physical.He explored some ofthese ways in The Other

Tiger. He ackno-

wledges that the only real tiger he knowsis one constructed in his own mind, bornof stories and pictures he has read andseen. A tiger of symbols only.To the tiger symbols I hold opposedThe one thats real, the one whose bloodruns hotAs it cuts down a herd of buffaloAnd that today, this August third, nine-teenFifty-nine, throws its shadows on thegrass.So his poetry demands of us the answerto, how many of our truths also are basedon symbols, what weve read or heard,and not on the experience where the hotblood runs? Borges searches for what hecalls the third tiger, and so must we.

Journalist and wri-ter. Her first novelwas co-authored with PeggyHanson Dopp, Tomorrow is aRiver. Her second novel, Sonsof Thunder, led to Ireland andtheir 1898 rebellion against theEnglish and the amazing-storyof Father John, the real life priestof a small Irish village who led apeasant army againstthe English armed onlywith pikes and scythes.The third novel, LingerNot At Chebar, is set on Burna You can read about the lastone The Experiment in her website http://www.barbarafitz-vroman.com/

Barbara Fitz Vroman http://www.barbarafitzvroman.com/

BarbaraFitzVroman

Barbara Fitz VromanThe Poetry of Jorge Luis BorgesThe Poetry of Jorge Luis Borges

T


YAREAH MAGAZINEYAREAH MAGAZINE LL ii tt ee rraattuurree// LL ii tt eerraattuurraa

Sergio Fritz Roa

Admiro en Poe la capacidad de indagar en lo ms profundoAdmiro en Poe la capacidad de indagar en lo ms profundode la psicologa humana; en Lovecraft, el crear verosmilesde la psicologa humana; en Lovecraft, el crear verosmilespaisajes de horror; en Dunsany y Tolkien la facilidad depaisajes de horror; en Dunsany y Tolkien la facilidad deconcebir mundos y mitos. En Borges, reconozco al genioconcebir mundos y mitos. En Borges, reconozco al genioliterario puro.literario puro.

YAREAHMAGAZINE 12

un cuando a mi juicio el autor de ElAleph no sea capaz de lograr el ep-teto de buen psiclogo, plasmar

concretamente lo numinoso, o edificargnesis sobrenaturales, es, sin embargo,el artista de la prosa depurada y el aps-

tol de la esttica literaria. Es el tcnicode la palabra. Pero tambin el arqui-tecto de colosales edificaciones narra-tivas. Es por ello que varios de susrelatos evocan la multiplicacin deposibilidades, salidas, encuentros, ca-

minos quese bifur-can, infi-n i t a spuertas. Ellector nosabe dndeBorges lo lle-var; es im-predecible!Un relato esa veces cienrelatos y noes exageradodecir que uncuento bor-giano con-t e n g amaterial sufi-ciente paradiez cuentos.Cmo norecordar a lasmatrioskas,esas mue-cas rusas quecontienen a

otras muecas, y stas a ms, y as adinfinitum?Lgica matemtica y paciencia filosfica.Eso es Borges. Es lo que me permiteaventurar una hiptesis: Si aqul no hu-biese sido escritor, sin duda se habra de-dicado por entero a la abstraccin propiade las matemticas o a la reflexin de losamantes de Sophia. Ese deseo por des-entraar las redes ocultas de la realidad(la Haqiqat del Sufismo), de vislumbraraquello que nos fue vedado, no es ex-trao en el argentino, sino que es su al-qumica quintaesencia.Regin de espejos y senderos que se ra-mifican cual vas del rbol sefirtico de laKabbalah, es Borges. Diseo que nos traea la mente su amado Buenos Aires, en-tendido ste como axis mundi (eje delmundo), lugar donde confluyen como elaleph, todos los mundos, todos los hom-bres. Y, tambin, todos los Borges.

A

SergioFritzRoa

Chileno, 33 aos. Es-critor y ensayista,fervoroso estudiosode los smbolos, laalquimia y la litera-tura fantstica. Sus artculos han sido publicados en libros y enrevistas como La Casa del Tiempo (Mxico),Serpiente Emplumada (Per), LIdea (Italia),etc. Algunos de sus poemas y relatos fantsti-cos se encuentran en revistas especializadas oen antologas en castellano. Es uno de los ms conocidos estu-diosos y difusores de la obra de H.P.Lovecraften el mundo hispanoparlante. Dirige la revista de espiritualidad tradicional ypoesa trascendente Bajo los Hielos:http://www.bajoloshielos.cl

Sergio Fritz Roahttp://www.bajoloshie-

los.cl


Borges y la estetica deBorges y la estetica dela Ficcionla Ficcion



he Selected Poems prints the Spanishoriginal of each poem on the left andthe English translation on the right. The

translators have done a fine job of transpor-ting Borges characteristic concerns and hisclarity of expression from Spanish to English.Borges great interests time, the infinite,doppelgangers, the mortal hazard posed bymirrors are as omnipresent in the poetry asin the prose, but are expressed with evengreater economy in the poetry, which swo-ops between the private and the universalwith almost dizzying facility.Borges work is at once funny and profound,tragic and comic, mired in dread and rife withbeauty. In my opinion, Jorge Luis Borges wasthe greatest writer of the twentieth century.

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Tim Jones

Tim Jones is a poet and author ofboth literary fiction and sciencefiction. He lives in Wellington,New Zealand. His fiction and po-etry has been published in NewZealand, the USA, the UK, Aus-tralia, Canada, Vietnam and Ger-many. His most recent books are shortstory collection Transported(Vintage, 2008), which was long-listed for the 2008 Frank O'Connor International ShortStory Award, poetry collection All Blacks' Kitchen Gardens(HeadworX, 2007), and fantasy novel Anarya's Secret (Red-Brick, 2007). The latest news about Tim and his writing ison his blog at http://timjonesbooks.blogspot.com

TimJones

Jorge Luis Borges is best known in the English-speaking world as a writer of stories andJorge Luis Borges is best known in the English-speaking world as a writer of stories andessays, but it was as a poet that he first became known in his native Argentina. His Seessays, but it was as a poet that he first became known in his native Argentina. His Se --lected Poems gathers togetherlected Poems gathers togethertranslations of his poetry by atranslations of his poetry by anumber of dierent highly talentednumber of dierent highly talentedhands. I opened it with some trepihands. I opened it with some trepi --dation, wondering whether the podation, wondering whether the po --etry could possibly be as good asetry could possibly be as good asthe fiction: Im delighted to reportthe fiction: Im delighted to reportthat it is every bit as good.that it is every bit as good.

Tim Joneshttp://timjonesbooks.b

logspot.com


Book Review: JorgeBook Review: JorgeLuis Borges, SelecLuis Borges, Selec --ted Poemsted Poems

Emma AlvarezThe Dreams Of The Dragonflies

YAREAHMAGAZINE 14


Alberto Javier Maidana


En el siglo XX, muchos escritores desarrollaron temas con orgenes cabalsticos, peroEn el siglo XX, muchos escritores desarrollaron temas con orgenes cabalsticos, perotal vez el ms representativo sea Jorge Francisco Isidoro Luis Borges (Buenos Aires,tal vez el ms representativo sea Jorge Francisco Isidoro Luis Borges (Buenos Aires,24 de agosto de 1899 - Ginebra, 14 de junio de 1986), quien supo plasmarlo a lo largo24 de agosto de 1899 - Ginebra, 14 de junio de 1986), quien supo plasmarlo a lo largode muchas de susde muchas de susobras tanto en prosaobras tanto en prosacomo en verso.como en verso.

El ultimo secreto del cabalistaEl ultimo secreto del cabalista

uchos temas inquie-taron a Borges, perocualquiera que haya

ledo sus obras, puede adver-tir que tuvo una especial ob-sesin por dos temas enparticular: la creacin y la c-bala. De la cbala tom la ideade un lenguaje divino capazde otorgar poderes mgicos alos iniciados en l, y la nocinde emanaciones del En Soph,le sirvi para proponer unavisin del universo en la quela tarea de la creacin no co-noce final alguno y, basn-dose en ello, el genio literariode Borges engendr historias(poemas, cuentos). Se puedecitar entre tantas, El tintoreroenmascarado Hkim de MervHistoria universal de la infamia (1935) Borges recibi junto con la literatura fan-tstica el gusto por las concepciones fi-losficas orientales del universo, lasmismas que desarroll en sus textos me-diante un tratamiento ldico y artstico.Los puntos de contacto entre la cbala yla obra literaria de Jorge Luis Borges sonabundantes y constituyen una porcinmuy importante en el pensamiento delescritor. Se observa en su produccin po-tica y narrativa todos los motivos pre-sentes en el lenguaje de los gnsticos yseguidores de la cbala. El recurso dellenguaje secreto de los iniciados, la le-yenda del Golem, la creacin, son slo al-

gunos ejemplos de ello. Jorge LuisBorges no se propuso divulgar ni vindicarlas doctrinas cabalsticas, sino que, gus-tando sobremanera de dichos temas yobsesionadopor el miste-rio del uni-v e r s o ,plante hi-ptesis y so-l u c i o n e smetafsicaspara expli-carlo, perosiempre atravs de la

literatura.*Este artculo se basa en los estudios de Daniel Ni-cols Rodrguez Len http://www.correodelmaes-tro.com/anteriores/2007/enero/artistas128.htm

M

Argentino de 32 aos, casado, nacido en Buenos Aires,empleado pblico y estudiante de Licenciatura en Fsicaen UBA y luego en UNLP. Apasionado por los cuentos, mitos, leyendas y antiguassagas, principalmente de origen nrdico, germano y an-glosajn. Creador y administrador de blog cuentosdeha-das.fullblog.com.arSiempre agradecer la ayuda que le prestaron el Profe-sor en Letras Gabriel Pinciroli de la Universidad Nacionalde la Plata y "Nottwulfa" otra apasionada por los mitosy leyendas Nrdicas Blog: sagaland.blogspot.com

AlbertoJavierMaidana

Alberto JavierMaidana

[email protected]

Emma AlvarezIgnis Fatuus

YAREAHMAGAZINE 13

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINE opinions - opiniones

Tosha StimageJorge Luis Borges was an Argentine writer, literary critic, and librarian who lived the maJorge Luis Borges was an Argentine writer, literary critic, and librarian who lived the ma --jority of his life in Switzerland. Borges authored of 40 works and was awarded an interjority of his life in Switzerland. Borges authored of 40 works and was awarded an inter --national publishers prize Prix Formentor in 1961. national publishers prize Prix Formentor in 1961.

Bananas.for.Borges. my accidenBananas.for.Borges. my acciden --tal run-in with a literary Genius tal run-in with a literary Genius

discovered Borges the latter partof 2008, while browsing thru thesuggested readings section at

the library. Shakespeares Memory andThe Book of Sand was the selectionthat caught my eye. What an excellentsource of verbal nutrition. The book

was so good I read it in 2 days!

An excerpt for the tasting... ".....as Iclimbed the stairs, I noticed that thewalls were papered a deep crimson, inthe style of william morris, with intert-wined birds and fruit. Ulrikke entered

t h er o o mf i r s t .T h ed a r kcham-b e rhad a

low peaked ceiling. The expected bedwas duplicated in a vague glass, and it'sburnished mahogany reminded me ofthe mirror of the scriptures. Ulrikke hadalready undressed. She called me by mytrue name, Javier. I sensed that the snowwas coming down harder. Now therewas no more furniture. No more mi-rrors. There was no sword between us.Like sand, time sifted away. Ancient inthe dimness flowed love, and for thefirst and last time, Ipossessed theimage of Ulrikke."

I

Tosha Stimage is an undergraduatepursuing a BFA in Fashion Designwith a minor in Painting at the Co-lumbus College of Art & Design. "Iwould consider myself a hel-pless romantic, I believe thatany and everything is possi-ble when we put our ideas toaction." "I am in love withGod, Art, and Expression ofall types, I believe art is atool allowing me to framethe world i see and present it to you as something beautiful. It em-powers the everyday man." In addition to my blogging I Resale Vin-tage clothing and, I'm working to launch a Sustainable Fashion linethat takes broken/used/trashed items and turns them into funky je-welry and clothing. "Doing my part to minimize the need for "newlymanufactured" things. The line should be launched by Summer '09.

ToshaStimage

Tosha [email protected] or lsti-

[email protected]://thepopbangfizz.blogspot.com

http://myspace.com/freshnancy



Chandrahas Choudhury

The first thing to note about With Borges is its singulaThe first thing to note about With Borges is its singula --rity. The only man who could have wrien suchrity. The only man who could have wrien sucha book about Jorge Luis Borges has now.a book about Jorge Luis Borges has now.

he literary critic and essayist AlbertoManguel not only knows the work ofBorges better than anyone else, he

was also a close friend and ally of Borges.With Borges brims over with warm detailsof Borges the writer and Borges the man,but it is also it is also written in a circling,allusive, aphoristic style that shows Bor-ges's own influence on Manguel.Manguel's friendship with Borges beganin a very unusual way. As a boy Manguelused to work after school in an Anglo-German bookstore called Pygmalion inBuenos Aires, and Borges was an occasio-nal visitor there. By this time Borges, in hislate fifties, had become prey to the blind-ness that ran in his family, and, as some-one who lived almost exclusively forbooks, he was in need of someone toread to him. Manguel didn't know muchabout him, but he was a bibliophile aswell, and when asked if he would read toBorges in the evenings he consented.For a few years, till the time Manguel leftArgentina in 1968, the two would go overthe books in Borges's library in the eve-ningsDante, Chesterton, and Kiplingwere among Borges's favourite writers.Manguel would read, Borges would listenclosely (he knew many of his favouriteworks by heart), and then make some ob-servations of "wonderful perspicacity andwit, not only sharing with me his passionfor these great writers but also showingme how they worked by taking para-

graphs apart with the amorous intensityof a clockmaker". This is not the only oc-casion in With Borges when the readerfeels more than a little envious of Man-guel.Books meant the world to Borges, andnot just in the simple sense that he wasgreatly in love with books and literature.Rather, as Manguel explains, books wereBorges's primary reality:For Borges, the core of reality lay inbooks; reading books, writing books, tal-king about books. In a visceral way, hewas conscious of continuing a dialoguebegun thousands of years before andwhich he believed would never end.Books restored the past. 'In time,' he saidto me, 'every poem becomes an elegy.'He had no patience with faddish literarytheories and blamed French literature inparticular for concentrating not on booksbut on school and coteries.He was a ha-phazard reader who felt content, at times,with plot summaries and articles in ency-lopaedias, and who confessed that, eventhough he had never finished Finnegan'sWake, he happily lectured on Joyce's lin-guistic monument. His library (which likethat of every other reader was also his au-tobiography) reflected his belief inchance and the rules of anarchy."His library, which like that of every otherreader was also his autobiography"inutterances like this we see Manguel's ownpenchant for provocative Borgesian for-

mulations. Elsewhere Manguel says:There are writers who attempt to put theworld in a book. There are others, rarer,for whom the world is a book, a book thatthey attempt to read for themselves andfor others. Borges was one of these wri-ters. He believed, against all odds, thatour moral duty was to be happy, and bebelieved that happiness could be foundin books, even though he was unable toexplain why this is so. 'I don't knowexactly why I believe that a book bringsus the prospect of happiness,' he said.'But I am truly grateful for that modestmiracle.'

YAREAHMAGAZINE 16

Chandrahas Choudhury isa writer and literary criticbased in Mumbai, India.His first novel, Arzee theDwarf, appears in India inMay. He also writes aboutbooks for the Observerand the Sunday Telegraph

ChandrahasChoudhury

ChandrahasChoudhury

T

Alberto ManguelAlberto Manguelwith Borgeswith Borges


Alix Otoole


He renunciado a ti, como renuncia elHe renunciado a ti, como renuncia elloco a la palabra que su boca pronunloco a la palabra que su boca pronun --cia. Renunciar a la palabra es renuncia. Renunciar a la palabra es renun --ciar a ser, cada vez, un ser humano; yciar a ser, cada vez, un ser humano; yes la palabra, ese dbil hilo conductores la palabra, ese dbil hilo conductorque nos une y nos ata al ejercicio ftilque nos une y nos ata al ejercicio ftilde tratar de ser eso que ignoramos,de tratar de ser eso que ignoramos,pero que extraamente aoramos.pero que extraamente aoramos.

uiz, solo quiz, Borges en mediode su abismo encontr en la palabraun leve y clido contacto que alivia

en la obscuridad; quiz fue la palabra laremota esperanza de tocar otra alma an-helada. Quiz, en medio del laberinto delas insondables preguntas, las palabrasfueron huellas, rastros dejados al azar yfue la cbala lo que se con-virti por momentos, enun endeble bote que porel intricado ro de la incer-tidumbre lo llevaba haciaesos rastros, esas huellas,esos indicios. Pero todossabemos que todos los ca-minos nos llevan a nos-otros mismos, y que laspalabras nos llevarn ams palabras.Sin embargo, la palabra aveces parece un misteriosorastro encriptado entresignificados aparente-mente concretos, y de allque lo que alguna vez solosirvi para acercarme ti,para expresar mi deseo, misentimiento, mi pensa-miento, llev consigo unsecreto pasajero que nodijimos jams. De un

tiempo para ac la palabrasirve menos para acercar que para con-fundir, y ms para engaar, y ocultarnosen la nada, pero hubo una vez en que unBorges crey en esas huellas y husme elrastro, y lo sigui, aspirando como todosa las grandes respuestas y quin sabe, sia Dios. Finalmente Borges se desprende

de Dioses, de misterios y deja solo estaverdad: Este mundo, evidentemente, nopuede ser la obra de un Dios todopode-roso y justo, pero depende de nosotros.Tal es la enseanza que nos deja la c-bala, ms all de ser una curiosidad queestudian historiadores o gramticos.

Q

Alix escribe para decir lo que deotra forma no puede, lo que s quenadie quiere escuchar, para dejarescapar esos vapores venenosos yotros ni tanto. Escribe desde queaprendi, desde que le ense supadre. Y l le ense que el actode escribir como el de leer es n-timo, solitario y perfecto, pero enel mayor de los casos, sobre todocuando es honesto, es incompren-sible. Su intoxicante favorito: Lilith; sigue sus huellas como lospasos perdidos de la humanidad, la que en esencia es,pero que perdi el rumbo desde su exilio Mil preguntassin respuestas, sin pretensiones, sin camino, casi sin sen-tido, ms bien como alguien dijo una vez: desbaratandoencajes llegar hasta el hilo.

AlixOtoole

Alix Otoolehttp://www.myspace

.com/alalalai

La PalabraLa Palabra

Emma AlvarezThe Strange Flower

nce our basic necessities are coveredwe have to live every moment as if itwas a special one. A topic. Easy to

think hard to do when you are doing thehousework, as an example of one of thethings that keep wasting our time.Though you can always play some musicand pretend you are doing exercise, whoknowsAllowing my soul being torn to pieces thishas been the result:A part is schizoid. It likes being thrown tosqualid places and sordid situations andthe next moment is thinking about givingup smoking and taking up healthy habits.Though I have to admit that the evil partwins 3-2 (because it plays at home) and Iam still a convinced smoker. Convincedthat I like it. What a silly bugger.A part is an artist. It likes reading, discus-sing, writing, being part of cultural eventsor attending them A lot of different in-terests that make it want to be called ahumanist. A bit superficial from time totime I guess

A partis a phi-lologist. It loves playing with words. Ne-arly every language has its beauty andcomparing and appreciating it has be-come part of a daily routine that bringsme more pleasure than any other interest.Another part is a teacher. I like my profes-sion and I like it more when it has any re-sults in the immaculate minds of mypupils. A high pitch in a flat encephalo-gram makes my heart beat.A part is a man, a part is a little girlItwould be very difficult to dissect everytiny part of it (I wouldnt have enoughspace) so you will have to read my ar-ticles to solve the puzzle. Right now M.has a part of it. He has brought meback to love in the only way one can bepart of me, which is loving me.And I suppose a part has to be an exhibi-tionist as I have shown it to you withoutany sense of decency.All these parts are glued together by myfamily and friends. They do not let me

b re a kinto pie-ces whatever happensAs for a legend in my soul I only couldfind my father telling me put yourself inhis place. A piece of advice that has al-ways walked with me in this vale of tearsto transform it into a better place to livein.

LL ii tt eerraattuurree // LL ii tt eerraattuurraa

Silvia Cuevas Mostacero

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Silvia Cuevas [email protected]

LostParadisesParasosPerdidos

Lost Paradises

This is an inner trip. A trip into my soul. A trip to my demons, fearsThis is an inner trip. A trip into my soul. A trip to my demons, fearsand anguishes which are in the depth of what we always are lookingand anguishes which are in the depth of what we always are lookingfor in this life: Happiness (except when you are looking for basic fofor in this life: Happiness (except when you are looking for basic fo --odstu or anything from necessity: the body rules). Ive come to theodstu or anything from necessity: the body rules). Ive come to theconclusion that what we call achieving Happiness (with a capital)conclusion that what we call achieving Happiness (with a capital)is having those necessities fulfilled and creating more intellectualis having those necessities fulfilled and creating more intellectualones, so having to fulfill those again starts the cycle over and overones, so having to fulfill those again starts the cycle over and overagain, and here you are not being fully satisfied until your body isagain, and here you are not being fully satisfied until your body isless demanding and does not allow you to make any eort. How deless demanding and does not allow you to make any eort. How de --pressing. Lets change thepressing. Lets change thepoint of view.point of view.

YAREAHMAGAZINE 18

Lost Paradises:Lost Paradises:My SoulMy Soul


LL ii tt eerraattuurr ee// LL ii tt eerraa ttuurraaParaisos Perdidos: Mi AlmaParaisos Perdidos: Mi AlmaSilvia Cuevas Mostacero

na vez cubiertas nuestras necesi-dades bsicas tenemos que vivircada momento como si fuese algo

especial. Un tpico. Fcil de pensar, difcilde aplicar cuando estamos haciendo ta-reas caseras, como un ejemplo de aque-llas cosas que ms tiempo nos hacenperder. Aunque siempre puedes ponermsica y pretender que ests haciendoejercicio, quin sabeHabiendo permitido hacer trizas mi alma,este ha sido el resultado:Una parte es esquizofrnica. Le gustaadentrarse en lugares cutres y situacionessrdidas y al momento siguiente estpensando en dejar de fumar y adoptarhbitos saludables. Aunque tengo queadmitir que el lado oscuro gana 3-2 (por-que juega en casa) y todava soy una fu-madora convencida. Convencida de queme gusta. Qu capullaUna parte es una artista. Le gusta leer,dialogar, escribir, ser parte de actos cul-turales o asistir a ellos Muchos y diver-sos intereses que hacen que le guste quela llamen humanista. Supongo que unpoco superficial de vez en cuando

Una parte es una filloga. Le en-canta jugar con las palabras. Casitodos los idiomas poseen algo debelleza y compararlos y apreciarlase ha convertido en una rutinaque me da ms placer que nin-guno de mis otros intereses.Otra parte es profesora. Me gustami profesin y me gusta mscuando obtengo algn resultadoen las mentes inmaculadas de misalumnos. Un tono extremo en unencefalograma plano hace que micorazn palpite.Una parte es un hombre, otraparte es una nia pequea Sera muydifcil diseccionar cada pequeo trozo (notendra suficiente espacio) as que ten-dris que leer mis artculos para resolverel rompecabezas. Ahora mismo M. poseeuna parte. Me ha devuelto al amor de lanica forma en la que alguien puede for-mar parte de m, que es amndome.Y supongo que una parte debe ser unaexhibicionista ya que se muestra antevosotros sin ningn sentido del pudor.Todas estas partes se mantienen unidas

gracias ami familiay amigos. No permiten que me rompa enpedazos ocurra lo que ocurraY en cuanto a la leyenda, la nica que heencontrado en mi alma es a mi padre di-cindome ponte en su lugar. Un con-sejo que me ha acompaado siempre eneste valle de lgrimas para transformarloen un lugar mejor en el que vivir.

ste es una viaje al interior. Un viaje al interior de mi alma. Unste es una viaje al interior. Un viaje al interior de mi alma. Unviaje hacia mis demonios, temores y angustias que estn en el fondoviaje hacia mis demonios, temores y angustias que estn en el fondode lo que siempre buscamos en esta vida: La Felicidad (excepto cuandode lo que siempre buscamos en esta vida: La Felicidad (excepto cuandoests buscando qu comer o cubrir cualquier necesidad bsica: elests buscando qu comer o cubrir cualquier necesidad bsica: elcuerpo manda). He llegado a la conclusin de que eso que llamamos alcuerpo manda). He llegado a la conclusin de que eso que llamamos al --canzar la Felicidad (con mayscula) es tener esas necesidades cucanzar la Felicidad (con mayscula) es tener esas necesidades cu --biertas y crear otras ms intelectuales, y teniendo que cubrir esasbiertas y crear otras ms intelectuales, y teniendo que cubrir esasnuevas necesidades comienza el ciclo unanuevas necesidades comienza el ciclo unay otra vez y aqu estamos sin poder estary otra vez y aqu estamos sin poder estarsatisfechos por completo hasta que nuessatisfechos por completo hasta que nues --tro cuerpo se vuelve menos exigente y notro cuerpo se vuelve menos exigente y nonos permite realizar esfuerzos. Qu denos permite realizar esfuerzos. Qu de --primente! Cambiemos de tercio.primente! Cambiemos de tercio.

U

Paraisos PerdidosLost Paradises

YAREAHMAGAZINE 19

Emma AlvarezThe Riddles of the Shadows

LL ii tt eerraattuurr ee// LL ii tt eerraa ttuurraa

os lo tombamos en uno de losquioscos con terraza del parque yrecuerdo la sensacin de fro en

los muslos cuando se me suba la faldaescocesa al sentarme sobre los barrotesverdes de la silla. Me acuerdo muy biendel olor a xido de aquellas mesas y sillasdesconchadas, que se quedaba impreg-nado en las manos, como ocurra al suje-tarse a las cadenas de los columpios. Elaire era fro y seco, como son los invier-nos en Madrid, y la luz perezosa se colabaa travs de las ramas peladas de los r-boles centenarios, sin conseguir calentar-nos.El abuelo, con su sonrisa pcara y sus ojostiernos tras las gafas, nos contaba histo-rias, con una mano sobre la prtesis de lapierna que perdi durante la guerra y elbastn descansando en el apoyabrazosde la silla. Tena la piel de las manos seca

y las uas duras y muy bien cortadas. Eraun hombre impecable y muy paciente,que disfrutaba del tiempo que la vida lehaba regalado para pasar con sus nietas.Porque era tmido, entenda muy bien latimidez de mi hermana menor, y la tra-taba con mucha dulzura. Le haca pre-guntas acerca de las cosas que formabanparte de su mundo de nia, y as ellapoda responder su opinin de nia, puesera una opinin verdaderamente impor-tante. Consegua generar ese marco deconfianza en el que un nio tmido seatreve a hablar y a expresarse al mundosin miedo, sin complejos, sin temor. Yoera bastante cotorra y tena muchas an-sias de hablar de cualquier cosa y en todomomento, pero mi abuelo me ense acallarme, a esperar mi turno y a dejar ha-blar a mi hermana. Me ense una cosamuy importante en la vida de cualquier

persona: el arte de saber escuchar.

N

YAREAHMAGAZINE 21

Me gusta comer patatas fritas de bolsa y beberCoca Cola al mismo tiempo. Me trae recuerdosde cuando era nia, de cuando mi abueloRamn nos llevaba a mi hermana y a m a pasear al parque del Retiro, amedia maana, y despus de correr por la rosaleda y jugar al escondite,nos premiaba con un aperitivo, el justo para que no se nos quitaran lasganas de comer.

Ana Garca Novoa

El arte de saberescuchar Ana Garca Novoanaci en Madrid en1971 y creci en Bar-celona, donde re-side. Se licenci

en Filosofa porla Universidad deBarcelona, aca-bando sus estu-dios en Pars, enl'Universit ParisIV-Sorbonne. Esautora de libros de divulgacin publicados bajo seu-dnimo por Ocano y Obelisco. Adems, es traduc-tora del francs, ingls y portugus. Colabora conLa Vanguardia Magazine, donde ha publicado dosreportajes. Actualmente est escribiendo su primeranovela.

Ana Garca Novoahttp://anagarcianovoa.qapa-

city.comhttp://anagarcianovoa.blogs

pot.com

AnaGar-caNovoa

Fiction - RelatosYAREAH MAGAZINEYAREAH MAGAZINE

Argentine LiteratureArgentine Literature(II) (II)

In 1602, Martn del Barco Cente-neras epic poem La Argentine

gave name to these old Spanish colonialterritories for ever. He describes the Ar-gentine landscapes and the conquest -10,000 verses-. Ruy Daz de Guzmnrewrote it as a chronicle.

En 1602, Martn del Barco Cente-nera bautiza a estos antiguos te-rritorios coloniales con su poema

pico La Argentine. Describe el paisajey su conquista en 10.000 versos y fue re-escrito en prosa por Ruy Daz de Guz-mn.


he gentle whoosh-shuuuaa, who-osh-shuuuaa, whoosh-shuuuaa ofthe waves reminded her of summer

days and collecting shells and campingnear the beach. She paused every nowand again to listen. It comforted her. Thesea had always comforted her. But thatswhat it was supposed to do. Thats whatthe sign in front of the prescription coun-ter down at the Value Drug Mart in townsaid that it would do. They had five diffe-rent sounds you could buy on cassette:Brook Sounds, Ocean Sounds, Rain, Birds,and Night Sounds. She had picked upOcean Sounds when she was in town yes-terday. The ad said it would relieve stress.But thats not why Silvie bought it.Outside her window the sun glinted on

the barn, reflecting light into the kitchenand momentarily blinding her. She wat-ched their dog lope across the lawn. So-meone must be coming. Silvie adjustedthe blinds and saw Matt climb out of thehired mans truck. She scrambled acrossthe counter to switch off the tape beforehe heard it, and dropped two knives, afork and the Crisco in the process. What are you doing home in the middleof the day? she asked quickly bendingdown to retrieve the Crisco which was ro-lling toward him across the floor. What, I cant come home in the middleof the day just to see my wife all of a sud-den? he laughed.She heard him clomp down the basementstairs whistling. Silvie removed the cas-

sette and flung it in the back of the cu-tlery drawer for the time being. There wasreally no reason why she didnt want Mattto know about her Ocean Waves tape.She planned to tell him sometime, just assoon as she figured out what she wouldsay. He would think it was quite funny.Hows the combining coming along?she called down the stairs.He mumbled something she couldnthear. She knew what Matt would say. Hewould say it was silly to spend $12 just tohear the waves for 30 minutes. You couldput an empty canning jar up next to yourear and get the same effect. He was pro-bably right. It probably wasnt the realocean anyway, just some synthesizer so-mewhere.

Fiction - Relatos

T

Linda Hall Amber Waves Silvie dried the topsof the glass jars witha damp dish cloth.Thirty-two hot jars ofpickled beets nowstood in precise rowsright next to 24 jarsof peaches and 14jars of pickled carrots.Behind her, thepounding of the seawas occasionally in-terrupted by the lo-nely call of a sea gull. She reached to switch off the stove and almostimmediately the water in the canner settled down. Next on her list werepiesapple pies for the freezer. She bake two dozen of them beforeshe was through. She got down the Crisco and flour.

YAREAHMAGAZINE 22

Emma AlvarezBefore The Storm


But Matt had never understood about theocean. During their yearly visits to her fa-mily in Port Hardy, B.C., Silvie would walkdown to the wharf and spend hours gazingout into the bay. Shed search for fishingboats she recognized, and watch the tugspull log booms from Otter Point on the leftto the light buoy on the right. Matt wouldwalk with her, sit with her, and pretend totry to be interested in the difference bet-ween a trawler and a seiner, but it wasntthe same for him she could tell. He soongrew bored and restless, not to mentionthe fact that his cowboy boots soundedhollow and out of place pounding downthe streets of Port Hardy next to all thequiet rubber gum boots.The whistler ascended the basementsstairs apparently finding the tool orwhatever it was he was looking for.Ill bring supper out around six thirty,she yelled after him. Well all come,well have a picnic.Great! he paused and stuck his headback in the screen door. Hey, I loveyou!I love you, too, now get out of here.Ive got work to do, and so do you!Silvie was 40 years old, in love with herhusband and devoted to her children,but every so often she wondered howshe ever got to be a farm wife. If an-yone had told the shy, skinny kid whotraipsed along the beach that shewould one day be living on a farm inAlberta, she would have looked upfrom her bucket of crabs, rocks andsea weed, and said with surprise, afarm? And yet that was exactly whathad happened. She had three chil-dren, the oldest 13 who had neverknown any life but the farm. She grewan immense garden and canned orfroze everything in it. During harvestshe often helped with the combininguntil two or three a.m. or until theearly morning dew made it too wet tocontinue. And during the winter shesubstitute taught in town 24 miles

away. But, every once in a long, long while shewondered what her life would have beenlike if she had stayed on the coast. Shecould have married an accountant and beliving in West Vancouver. On Saturdaysthey would jog along the sea wall and thenlunch in an little outdoor cafe along Rob-son. She could have married someonefrom her graduating class and they bothcould be teachers in Oak Bay and living ina huge bi-level with a double garage. Or,she could have married a back to natureartist type and be living on Salt Spring Is-land and raising sheep.If the job market in 1972 had been diffe-rent, any one of these scenarios could have

Fiction - Relatos

Linda Hall is theaward-winningauthor of fifteenmysteries and ro-mantic suspensenovels and manyshort stories.Most of her no-vels have some-thing to do with the sea. She grew up in New Jerseyand it was there that her love of the ocean was born.In the summer she and her husband basically moveaboard their 34 foot sailboat which is aptly named MysteryLinda currently writes for Harlequins SteepleHill/Love Inspired line and will have four more booksout with them in the coming years.

Linda Hall http://writerhall.com

LindaHall

Linda Hall Amber Waves


YAREAH MAGAZINEYAREAH MAGAZINE LL ii tt ee rraattuurree// LL ii tt eerraattuurraaFiction - Relatos

YAREAHMAGAZINE 24

Linda Hall Amber Waves

been her life. When she graduated with ateaching degree from UVic, she sent herresume to all of the places she wanted toliveVancouver, Victoria, Coquitlam, Se-chelt. When she was turned down shemoved her resumes inlandPenticton,Kelowna, Salmon Arm, Trail. Still no res-ponse. It was a tough time for brand newteachers in B.C., everyone said.So she got a job in Woolco in Victoria andlived with her aunt. After six months onminimum wage she realized that Canadadid have nine other provinces. When shesaw an ad in the Vancouver Sun announ-cing they were interviewing in Edmontonfor teachers for rural Alberta, she packedher one good outfit and set out in her old

VW beetle.She had only been to Alberta once be-fore. When she was 11 her grandparentshad taken her in their camper to the Cal-gary Stampede. She remembered the gla-ring heat, the noise and smell of theanimals and the twangy music. She wat-ched real cowboys with huge hats andflapping leather pants ride wild animals.She laughed at the clowns, but the bullsterrified her. Her grandpa bought herdrippy hot dogs, cotton candy and a cow-boy hat with plastic ties which fastenedunder her chin. She wondered where thathat was now.Vacations in her family usually ran north-south instead of west-east. Her dad said

t h a tonce you got past the Rockies there reallywasnt much to see anyway. So they neverwent. Instead, they drove down to Victo-ria, took the ferry across to Port Angeles,and camped on the rugged Washingtoncoast, where cold waves pummeled thegray rocks. Silvie loved it there. Or, theydrove over to Long Beach and rented acabin. When she was in grade 12 shehiked the West Coast Trail with a schoolgroup. It rained a lot.Teaching jobs werent quite as tight in Al-berta, and she got a job teaching gradefour in a small farming community. Sheknew it wasnt permanent. As soon as so-mething opened up in Vancouver shed

Emma AlvarezMemories

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINEFiction - Relatos

Linda Hall Amber Waves head back.Then she met Matt. He was tall and gentleand funny and wore cowboy boots andblue jeans. He took her to the farm wherehe worked with his Dad and brothers.They walked for miles. She couldnt ima-gine one family owning all this land. Hepointed out the fields which had grownwheat and those which had grown canolathe season before. He explained to herhow it was a gamble every year as towhich crop which fetch the highest priceat harvest. He told her why sometimesthey didnt plant anything at all. He calledthat summer fallow. He introduced her tohis horses, and she stroked their softnoses. He promised to take her riding so-metime. Together they climbed up intothe new combine, and she said it remin-ded her of the cockpit in the Starship En-terprise. She asked him if he had everpressed the wrong button and foundhimself in outer space by mistake. And hesaid no because they hadnt bought themodel with the hyperspace control. It costan extra thousand bucks.They got into a truck which was so rustyand encrusted with mud that she was sur-prised when the thing actually started.They drove down to where the farm bor-dered a small, reedy lake. He pointedacross the lake and explained that they le-ased that land and kept some cattle on it.He called it insurance. His older marriedbrother mostly looked after the cattle, hesaid.Later they sat on a rail fence beside thebarn and watched the sun set. Silviethought she had never seen anything socolorful as the streaks of orange, pink andred which completely filled the westernsky. They were quiet. Matt looked past Sil-vie then, out past the barns and outbuil-dings and the animals, past the neatround stacks of hay, out to the very endsof his land, as if at some private dream.When he turned back to look at her, shefelt as if her heart would burst.They were married in the spring and

moved into amobile homeon a new sec-tion of land.Here theywould live untilthe house theyplanned was fi-nished. Hermother-in-lawtaught her howto garden andcan, and how tomake the kindsof hot suppersthat you couldtake out to thefields at har-vest. Silvie washorrified thefirst time shewatched Mattservice a cowwith A-I. Andwhen it was cal-ving time she un-derstood precisely what Mattmeant when he had said, if theyre ha-ving trouble calving, sometimes you haveto go in after them.Because they were struggling at first, Sil-vie kept her teaching job right up untilafter her third child was born, taking ma-ternity leaves and going back to work assoon as she could. Her mother-in-law orsister-in-law babysat her toddlers. Now,she only subbed during the winter.Occasionally someone would ask her ifshe missed B.C. and the mountains, andshe would always reply, not the moun-tains so much as the water.She dug out Ocean Sounds once more,put it back into the cassette player, andbegan rolling out pie crust and cutting upapples. Finally, her kitchen table and everyavailable inch of counter space was laidwith neat, round pies. It was past time toget supper started. Shed have to hurry ifshe planned to get it out there by six

thirty like she promi-sed. Shed have to hunt

for the kids. They really would have a pic-nic tonight, she decided. And then shewould stay to help with the combining.They had had extraordinarily good wea-ther for harvest, but one never knewwhen bad weather would set in.She climbed into to the pickup, placedthe hamper of hot food beside her, andturned around and waved to her childrento please sit down in back. As she drovedown the familiar dirt road out into thefield where Matt and the hired men wereworking, a white gull swooped down infront of her. She wondered about thatgull. Had it flown east from Port Hardy lit-tle by little, and was now so firmly entren-ched on the land that it couldnt find itsway back? Did it miss the salt smell of seaweed, the sound of a fog horn at night,the taste of fresh ocean fish? Would itever go back to stay? Did it really want to?


YAREAHMAGAZINE 25

YAREAH MAGAZINEYAREAH MAGAZINE LL ii tt ee rraattuurree// LL ii tt eerraattuurraaFiction - Relatos

YAREAHMAGAZINE 26

Sergio RodrguezDa de Graduacin

l piano hace su introduccin y antesde comenzar su meloda en el violn,con la sonrisa en el pasado, recuerda

los aos setentas, se mece en el columpio

del patio en la parte de atrs de la casa;un palo vertical sujetado de los extremospor dos cuerdas de mescal que colgabandel rbol de toronja. All pas horas can-

tandosin cesar las canciones aprendidas de sumadre y las nuevas de la radio ("La del

"Recital de graduacin violn y piano". Se abre el teln, el murmullo delpblico disminuye, un piano y un atril esperan elegantemente en el cen-tro del escenario; con paso ligero los msicos hacen su aparicin. Losaplausos son ensordecedores como ensordecedores eran las tormentasde mayo de la sampedrana ciudad donde l dejo el ombligo; las lluviasde gotas pesadas descolgbanse en millares sobre las lminas de cincdel techo en donde fue su infancia.

EEmma Alvarez

Aurora

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINEFiction - Relatos

Da de GraduacinMoo Colorado"). En la mecedora, con losojos cerrados, la tarde es suave y fresca,arriba el cielo huye cuando trata de to-carla. Pens en su niez al igual que lospjaros recuerdan sus cantos sempiter-nos, apenas amaneca y despus del cafcon leche y semitas de dos por cinco,descalzo hacia la escuela cantaba con losrboles, las plantas, animales y los zorza-les a travs de las veredas que lo guiabansolitario en sus primeros pasos por la es-cuela. Cmo disfrutaba la clase de canto!Record sus primeras composiciones;melodas de sonidos puros que fluan desu voz blanca, l mismo a sus tres aostomaba orgullosamente conciencia deello.El Scherzando de Brahms se mantiene di-nmico y con el carcter solemne. Unaexpresin de jbilo en su cara se percibesutilmente. Termina el ultimo acorde; domayor. Los aplausos vuelven a sonar,mientras saluda al pblico el conciertogrosso de Vivaldi suena en su memoriaEra 1974; haca el examen de audicin enla escuela de msicala orquesta en en-sayo y con su tpica curiosidad logr en-contrar de dnde venan esos sonidos, alacercarse se yergue, se estremece, todoen su ser se transformaba en vibracionesy de manera simultnea, mgicamente endueto con la orquesta que tocaba la in-troduccin del re menor de Vivaldi ("re, fa,la re, re, re, re, re, fa, la re fa, re, re, re, re)All jur con determinacin y una inmensaalegra que sera parte de esa masa de so-nidos fantsticos. Ese mismo ao haca sudebut en los segundos violines en la pri-mera graduacin de los de quinto ao.De regreso en el escenario una calma sesiente en el ambiente. El concierto nu-mero cinco de Mozart ha comenzado; elpiano hace su introduccin alegrementehasta su acorde final en semicadencia. Elvioln con una nota, sola, larga de matizpiano, comienza a nacer. As comenzabanlos amaneceres de su barrio Ro de Pie-dras al pie de aquella montaa del Me-rendn que tocaba el cielo; cuando los

rayos del sol exten-dan sus dedos denios trasparentes hasta con-vertirse poco a poco en unaluz que aprovechaba para ca-lentarse de esos fros que anexistan en la San Pedro Sulade entonces.El piano vuelve a tomar el

tema y enrgicamente, en pre-gunta, da la entrada en una re-solucin armnica de quinta(V) para el solo de cadencia.Respira hondamente y llega auna concentracin absoluta.Esta cadencia de Joachin esmaravillosa, en ella se com-prime ese balance perfectoque Mozart buscaba en el cl-sico. Clara y limpiamente seencuentra en el clmax de laobra. Sus dedos y el arco obe-decen a los dos hemisferiosdel cerebro. Finalmente, y des-pus de la bajada en la pri-mera cuerda en semicorcheas,se detiene fuertemente en lapenltima nota del acorde (lamayor), para que luego elpiano resuelva el primer movi-miento. El segundo aire semueve lento y etreo, mientrasel piano susurra el tema, nodeja de pensar en esos sereshumanos que le han dado lafelicidad de amar, cruzan en su mentecomo el da en que alguien amado murien un accidente, las cosas ms bellas ytristes de su mundo y antes de comenzarel solo su pensamiento se detiene en losojos del ms luminoso de los astros. Ella,la hija de tres aos, su felicidad en esteconflictivo mundo en el que todava creecon todas las esperanzas de vivir. Sienteque sus dedos por primera vez tomanvida y caminan sincronizados con el arcoa travs de cada nota, exprimindolas ysacando de ellas pequeitas nubecillas deamor. En ese xtasis musical siente que

algo se desgaja por dentro, poco a pocohasta el respirar le falta, si no hubiera ve-nido la cadencia pronto habra muerto.Ahora se encuentra sereno, ntimamenteya no queda nada y este solo le da alivio.El sonido de las dobles cuerdas le reani-man y hasta el color de su piel se ha cris-pado. Esta vez es l quien comienza eltema, es el tercer movimiento y lo ejecutacon tanta seguridad y felicidad interiorque hasta le parece que quiere bailar.

Sergio Rodrguez, Nacien la bella ciudad de SanPedro Sula, Honduras. Re-cibi su educacin en laEscuela de Msica Vic-toriano Lpez, El Con-servatorio Longy enMassachusetts, La Uni-versidad del Estado deKentucky, y La Universi-dad del Estado de Sureste de Luisiana. Sergio ha tocadoel violn en muchas orquestas incluyendo la Orquesta Sin-fnica de la Universidad de Harvard con la que fue en girainternacional por los pases de Malasia, Bangkok, Tailandiay Hong-Kong. Recientemente viajo con El Atlanti Virtuosien conciertos en San Juan Puerto Rico. Fue finalista paradirigir la Sinfnica Juvenil de Columbus, GA. Y se ha des-tacado como pedagogo, violinista, compositor y directorde orquesta. Su vida y obra fue publicada en la exclusivaedicin del libro bibliogrfico "Quin es Quin Marquis(Marquis Whos Who), en Amrica y Quin es Quin enel Mundo 2005,06, 07, 08". Institucin que publica refe-rencia biogrfica de los triunfos y contribuciones de indi-viduos que sobresalen por sus talentos y obras en losEstados Unidos de Amrica y del mundo entero. Recien-temente el peridico del estado de GA, USA Mundo His-pnico lo nombr como uno de los diez mssobresalientes hispanos que con su obra apoyan a la co-munidad.En las tempranas horas de la maana Sergio escribe art-culos y pequeas historias para los peridicos de Hondu-ras, y compone obras de msica de cmara y sinfnico.Recientemente a compuesto una Obertura Sinfnica aMorazn; indita

Sergio Rodrguezsergio.raulrodriguez@gmai

l.com

Sergio Rodrguez

Sergio Rodrguez

YAREAHMAGAZINE 27

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINEPoetry - Poesia

Marianne Dyson has adegree in physics andwas one of the first tenwomen flight controllersfor NASA. She has pu-blished five books (as of2009), two of which havewon major awards andbeen translated intootherlanguages. She speaks to thousands of children aboutspace every year, is atechnical consultant and a book reviewer, and has pu-blished dozens ofarticles, stories, and poems, most with a space sciencetheme. She enjoysKuk Sool martial arts, science fiction, cats, and trave-ling with her family.Visit her Web site: http://www.mdyson.com.

Marianne Dyson http://www.mdyson.com

MarianneDyson

YAREAHMAGAZINE 28

he old come here to deepest space to seektheir past from light that left their lives in youth

And though Louise would find the thought uncouth,her past is there for anyone to peek

Her loves, her hates, revealed as mingled lifeher golden mornings lost in childish dreamsher russet evening lost in starlight streams

now found like beauty as a virgin wifeBut also all mistakes of youth she sees,

regret blooming in her heart once againthe music, quit; the bad job, done; the menwho turn to face her now, like dying bees

with stinging eyes which death cannot forgivethough space expands to stretch the times she lived.

The Past in Realtime

T

e wait for bombs and death to choose the braveOn sands of heat, or oceans deep with scornFor guns and jets, our hope against the storm

Of men too young to flee a hero's grave.The Reaper holds his scythe so soldiers crave

To fight before the light of rightful morn,Before our dreams of freedom are forswornBy sun upon the dead we planned to save.

Our lovers wait, our children weep like rainWithout the clouds, forewarning us of fearWe will endure this war for nothing more

Than boundary lines of men in power, and pain.Or worse, to wait and wait and then to hearWe lost the right to fight and end this war.

The Standoff

(a Petrarchian sonnet)

W

he photon is a womandeciding what to wear,

A patterned or a solid dress?the answer isn't clear.

If you peek while she's decidingshe'll choose one just for you,

But when your back is turned againshe'll try on something new.

Even with a closet fullshe'll not be satisfied,

For styles often cancel outor wrongly coincide.

She'll slip into a dressing roomto test out something sheer,

Then change into a rigid moodunhappy with the mirror.

Eventually she is arrayedto interact with you,

But she arrives, to your surprisein not one gown, but two!

The Fashion of Physics

T

Madame Sosostris, famous clairvoyante,Had a bad cold, nevertheless

Is known to be the wisest woman in Europe,With a wicked pack of cards.

~~--Eliot, The Waste Land


YAREAHMAGAZINE 29

he wisest woman in Europe, feeling cornered,told me this morning, "The Question

is choosing between waitingfor paint to dry

or leaving footprints and making a mess."

What makes her so wise?She follows her heart.She is moved by pain.

She is not discoverer, butdiscovered.She knows

Every pack, even every cardis equally wicked.

Every footnotean expression of fear.

Every songis really a prayer.

Every brush of skinmakes for more stories.

The Queen of Cups

T

A Los Angeles native andlifelong resident, JosephMailander writes op-eds,cultural criticism, fiction,and poetry. He attendedColumbia and UCLA, stud-ying Art History, English,and American History. Hecontributes to many elec-tronic and print media pu-blications, and also has edited several blogs, includingmainbrace, street-hassle, and LA Opus.

Joseph Mailanderhttp://mainbrace.blogs-

pot.com

JosephMai-lander

Madame Sosostris, famous clairvoyante,Had a bad cold, nevertheless

Is known to be the wisest woman in Europe,With a wicked pack of cards.

~~--Eliot, The Waste Land


In Argentine, the Baroque period(17th century) was not a good li-

terary moment in comparison with Spainor other European countries. However,Coronas lricas (Lyric Crowns) or Elperegrino de Babilonia (The pilgrim ofBabylonia) by Jos Luis de Tejada are re-markable poems.

En Argentina, el periodo Barroco(siglo XVII) no fue una excelente

poca literaria si la comparamos con Es-paa u otros pases europeos. Sin em-bargo, Coronas lricas y El peregrinode Babilonia de Jos Luis de Tejada sonfantsticos poemas.

Argentine LiteratureArgentine Literature(III) (III)


YAREAHMAGAZINE 30

Hoy aspiro a ser sobredosis,pitn reticular sumergida en

las entraas de una lbrica selva.Ser posedo de lengua bfida

y dedos de mantis ateaen busca de respuestas,

rastro indeleble de caracoly alga marina carnvora.

Ser semilla de loto de cristalsi es preciso ser paciente.

Hoy que me esperas asoladopor todo, te invadir con todo

por retaguardia, como unjaguar a un caimn,

como tus pies a mis hombros.

Sobredosis

Soy un superhroe cuyonico poder es transmutar cuando ella me humedece; aparezco y desaparezco de su horizonte como ojos defelino agazapado tras unanoche de luna exaltada, me diluyo y me petrifico

compensando sus espacios, su materia, intemporales.

Auxiliar a la tierra desde ti.Aprender a conservar la

energa invencible de cuandocoincidimos en el apogeo deun mismo infarto de alientos.

Fusionmonos hasta eclosionaren partculas anatmicas; que provoquen una hiperactividad

sensitiva en cada clula.Y una lluvia cida de pomelo

caer sobre los cuerpos hacindoles caricias.

Cuando salvemos la tierra te llevar a otros mundos endecadencia, concentrmonos.

SuperHEroe

Antonio RUIZ BONI-LLA (1968) Sevi-lla. Nacido bajola dictadura,enraizado en lademocracia, ya ba n d o n a d opor completo y sin remedio a la poesa.Autor del poemario Poemas de amor inmiseri-cordes: Un rosario de versos impos que inten-tan redimir tanta vida retenida, tantossentimientos condenados a los vaivenes de lainconsciencia, tanto amor abandonado a lasuerte de estos das sumisos e inmisericordes.

Antonio Ruiz Bonillahttp://laflordelapocalipsis.blo

gspot.com/

AntonioRuizBo-nilla

Emma AlvarezCamelot

Due to the foundation of its Uni-versity in the 18th century, theprovince of Crdoba started to be

the cultural center of Argentine: GasparJurez Baviano and Antonia de la Paz yFigueroa, (also known as Beata Antula)outstand among other important poetsand writers.

Debido a la fundacin de su Uni-versidad en el siglo XVIII, la pro-

vincia de Crdoba comenz a ser elcentro cultural de Argentina: Gaspar Ju-rez Baviano y Antonia de la Paz y Figue-roa (tambin conocida como BeataAntula) sobresalen entre otros importan-tes poetas y escritores.

Argentine LiteratureArgentine Literature(IV) (IV)

YAREAHMAGAZINE 31

LL ii tt ee rraattuurree// LL ii tt eerraattuurraaYAREAH MAGAZINEYAREAH MAGAZINESHORT FICTION

AGUASomo esas aguas que corren bajo el cielo y las tragedias,

ciegas, locas, dispersas, en su unidad desbandadas,atropellando sus huellas, gritando en su estril idioma,

ay, sin tutela de besos, rechazados sus lamentos,cada vez ms alejadas, y siempre, siempre ms lejos,

solitarias en su multitud indestructible,como su infinita orfandad que slo escribe el invierno,

su propia vida all expresada, su ritual aislamiento,deshojadas por una mano que no olvida ni perdona.

Yo leo sus estrellas, yo alimento sus palomas,nada de lo que en el luto ocurre me es ajeno.

Aguas sin fin muriendo, viviendo en toda la muerte,slo los pjaros vienen, y los vidos animales.

Porque ya llegando el hombre ha llegado lo extranjero,y hay una flor que no entiende, una harina traicionada,

los trigos sagrados del cielo desobedecidos,violado su designio fnebre por un dios demente.

No hay propsito de mal en mi afliccin secreta,ni reniego de mi especie que la edad ha construdo.

Mi estructura acata el clima, la forma, la ansiedad humana.Pero miradme las aguas donde el orden se desploma:

la bsqueda, la fuga, la lejana lejana,el origen cabalgando con un grito tras mis pasos,una dulce voz que llama, ay, mis delitos secretos,

todos los ciclos de sombra como anillos a mi angustia,las aguas locas, las aguas, los otoos del invierno.

Y siempre, siempre esa voz dulce que en vano me llama.

Hay invasiones, hay ruinas, hay olvidos en la tierra,oraciones y misterios, hay oraciones abyectas,

hay amores desafiando la destruccin que me acosa.Yo no olvido porque sigo, porque persisto en mi muerte,

siempre a las aguas adicto, a su extensin afiliado,en su sucumbir interminable sollozando.

Y hay, adems, no tristezas, no melancolas dulces,sino un ancho movimiento, una convulsin cerrada,

un temblor temblando encima de su propio sacudirse,vibraciones superpuestas de dolorosa manera.

Eso existe transcurriendo en las aguas de la tierra.

Llmame an en la noche cuando todo se corrompe,donde sucede ms fuerte mi funeral de besos,

como un arma destruda al umbral de mi existencia,como los hombres que rompen la virginidad del agua,

como esas mismas aguas, ay, las aguas, las aguas.

Llmame a mi sobresalto, a mi vigilia ferviente,

Nac el 2 de julio de 1949 enValparaso, cuyo mar y sus tem-pestades marcaron definitiva-mente mi persona y mipoesa.Estudi varias asignaturas hu-mansticas, y trabaj en tresuniversidades, tanto en historia como en historia delarte, al mismo tiempo que escriba poesa. En 1985 sala doctorarme a Alemania, y como mi mujer es suiza,pude trabajar y quedar-me en San Gall, ciudad en cuyauniversidad hago un par de lecciones.He publicado 28 ttulos de poesa, cinco de ellos enChile, y tres dedicados a Valparaso, el ltimo: Hermana:La Hermandad de la Orilla, en Apostrophesde Santiago (www.apos.cl). El libro ms antiguo que hepublicado es JinetesNocturnos, de 1974, pero tengo otros inditos ms an-tiguos. En 1972 publiquun cuadernillo, Sueos de Amor, que circul slo entreamigos.Me han publicado ms de 70 revistas de literatura detodo el mundo, en varios idiomas, y repetidas veces, yestoy en numerosas pginas web. En agosto del pasado ao sali a la luz en Sevilla, Es-paa, mi libro de poemas Anunciacin. ngeles y Espa-das, publicado por la Asociacin Cultural Myr-tos. Estamisma entidad aca

yareah 5

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