In a previous post , we talked about social and cultural spaces of misanthropy and Modernity before commenting antimodern of Compagnon, the uníamos to the many negative spaces of the first modern era. Drifting ( A vau l'eau , 1882), published in translation of Juan Díaz de Atauri be inserted squarely in this tradition where ennui was the esprit de siècle and nihilism a constant temptation of thinkers and writers. Jean Folantin drift in this nouvelle is not so, at any time the unfortunate hero does his best to stay home, and the devastating result is that the hostile and ice cream end of the century Paris, where he created new avenues Haussmann reduced the area of \u200b\u200bthe old city, not for Folantin a more welcoming home that reverberates its cold emptiness. At first "fell in their neighborhood, determined not to back out of it" (p. 63), then put her flat in the face of perfect confinement ("spent a pleasant cleaned up organizing in advance of his den" , p. 74), in a significant reduction of living space. More than nihilism and misanthropy in its purest form is what conveys the protagonist, unable to bear anyone because, in reality, neither supports itself. I guess someone will have made a joint reading A vau l'eau and Monsieur Teste, by assuming two moments of contemporary mental space: that of Huysmans paleomoderno modern antonomásico that of Valery. Drifting is a small jewel and sad, which is read by interested sigh.
Martin Rodríguez Gaona, like you. English poetry last: postmodernism, humanism and Network, Trojan Horse, Madrid, 2010
As one of the authors studied in this book I seems well to review the same but, taking into account that many other authors studied and, above all, improving the present contains an interesting set of proposals on English poetry present, past and future, I think it lacks logic does not announce his departure and at least strongly suggest that the reader can judge for yourself. Rodríguez Gaona, a Peruvian poet valuable 
resident in Spain (and with considerable knowledge of their country of residence, as evidenced by the book), active commentator on this blog since its inception, made a peaceful and subjective analysis of the recent English poetry , with which it is impossible to agree entirely, but be in complete disagreement. From a sociological perspective addresses a variety of topics and authors, presenting a very personal recommendations on what should be the poetry in Castilian in the century just begun. It never hurts watching our poetry scene from an outside perspective, even though Gaona Rodriguez has been part and parcel of what counts, not just as a poet but also as an organizer of events, always keep a healthy perspective on what is Hispanic, which gives his view of the necessary distance.
Various Authors, SUICIDAME (2010)
SUICIDAME is an interactive and multimedia, which starts in the literature but it goes further, incorporating audio, video, image, music, active participation the author and links. Those responsible are the authors of the already discussed here Hotel No Postmodern (Inéditor, A Coruña, 2008), Alberto T. Blandina, Carolina Otero, Maxi Villarroya and Sergio Velasco, who have joined Ballona Maribel actors, Quique Bataller, Arlette Biot, Jordi Gomar, Pedro Montalban Kroebel and Mary Cremer, the designer Laura King, photographer Juan Terol, Perez Mireia illustrator, working in the audio-Quique Ruiz and creating original songs for this project-Niñamala, Naima and Lull. Carolina Otero has sung some of them, while adding his writing. As can be seen, the result is a complex and creative effort coral, whose daring art and we must thank the authors. The plot is simple: there is a game show involving six characters, where death, assisted suicide is the ultimate prize for the winner. The reader / viewer must be eliminated at each stage to one of the contestants, after reading the monologue where each state the reasons for winning the contest and, consequently, die. That means that unless you play six times, betting on each of them, not read the "complete works", although this is not necessary to read the work, as always happens in interactive literature.
In reality, the need to postpone parallel story lines begins with the same interactivity. The play by Ayn Rand Night of January 16th (1936), as noted by Espen Aarseth, was an early exercise of interactivity: the start of it were selected a number viewers to represent members of the jury. The end of the piece changed according to the verdict that give the defendant's behavior, so will the reader / writer has an important role to the time of writing of the work. According to Aarseth, the concept of "interactive literature" was introduced in the study of literature by Anthony Niesz and Norman Holland in an article in 1984, and since then has been very influential, especially in cyberliterature (and SUICIDAME is, of course , cyberliterature or digital literature). This approach is not only a challenge to read, also in literary criticism: should the critical reading whole project to have an opinion, or just a party, as would a conventional reader? This challenge, in itself, I find stimulating.
I have chosen the second option, reading like a reader who decided to choose only one of the characters, which read becomes semi-linear, since it does not choose the paths forked, but choose one and go ahead, as in children's novels. I preferred to do so to operate on a plausible reading experience, which I imagine majority, about 50 minutes. I chose as the central character to the Siamese Nestor (Victor and Ernesto), I guess because of my weakness to the track twice, leaving behind the very stereotyped, predictable levels Engineer, Susan D and Alisha. The remaining, Joao da Silva and Deathea, were more complex and were finalists in my reading. When I speak of "reading" I mean an expanded sense of it, that includes watching videos of presentation of the characters and listen to recordings of the radio program "Straight to the kidneys", in addition to follow the suggested links (not are hyperlinks to their own work, but to existing pages on the Web and add nothing to the story, except the blog Direct kidneys). The result is interesting reading, although they may be partial buts that disfigure the whole: the videos are technically acceptable, but the interpretations are overacted and their scripts are not so fortunate, the vertical scroll is very uncomfortable reading, the monologues have character, but so little literary, a little left to the vulgarity in the name of a misunderstanding realism, the songs are not bad, but they are expendable, just a couple of characters are believable, with some forgettable, as the presenter Kidney forced and improbable; program radio has no credibility whatsoever as such, deprived of the naturalness of the direct, and hardly defensible as literary dialogue, etc. However, I think we should be positive in these cases and focus on other aspects: the original idea is good, the overall design of the site is careful, readable and encourages reading, multimedia ambition is laudable, some of the stories are evocative, interactivity makes sense within the logic of the narrative television, and generally has been careful at all times and particularly the overall coherence of the project. The coral designs often have two problems: lack of coordination and the heterogeneity of content, full of ups and downs the result. Similar defects plans threaten interactive art, some of which parallel lines are more interested than others. I believe that those responsible for SUICIDAME well have avoided the first problem, but have ignored the second. However, despite its partial deficiencies, I recommend the visit of the project not only for sector successes, but also the immense challenges and opportunities it presents.
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