As soon as I become one with the environment,
start talking again and I stand.
Peter Handke, "differentiated"
1.-P ether Handke said "no be a poet. " Is it a poet?
The Handke's writing project is so sing ular a hasty response to this question could lead to paradoxes such as is not a poet, or storyteller, and writer, and playwright. Handke is rare , superbly strange, singular, in all these facets. It is difficult to find similar or licensors his poetry, but that does not mean it's not a poet, but readers say a guy acostrumbrados Estr echo poetry, conventional and standardized, they must make an effort to adapt to a stage dis red, a new world, where texts appear poems always as Poem the duration coexist with alignments football teams or credits of a movie. Nicanor Parra readers or Girondo Oliverio Handke will access more easily than Francisco Brines, and put er an example. The quest for "objectivity" that figure in Goethe Handke (cf. Poem the duration ) explain many things, but important is not where it comes from, but where it goes. live without poetry ( Bartleby, Madrid, 2009, translation by Sandra Santana ) is a literary experiences extreme and co
mpletas can have a reader today. Does it really important to stop and think if the result is
or not poetry, when what we have here is much more interesting?
2.-The first collection of poems, "The inner world of the outside world the inner world" (1969), from when I was 27, was written before many of its major novels. Is it the poetry of Handke a door to his narrative, or vice versa?
Handke, Poem the duration
I think so, partly because the very notion of door (Tür) or threshold is key to the literature of Handke. Quoted in the very first poem of this first book, "When I closed the door first with my own hands?" (P. 21), and then other times (see pp. 71, 185, 199, 213, 223, 423). But above all, how many times obsessively in his work that the characters enter or out from somewhere. First fifty pages Hornets (Norse, 2010; translation of Anna Montana) are populated by thresholds crossed, and on page 146 of the novel begins a brief section titled " The doors "without leaving that page, the word" door "appears a whopping eleven times. Following a behavioral tone, where the characters do not display their thoughts but the narrator tells about events to speak for themselves, on the following pages we read: "I keep I silence and right to the door jamb, in the meantime, he will work to close the open door sheet, be surprised that the blade does not close and stop opposing pressure, because this man knows no doors close on their own. However, do not waste time with the blade disobedient, without stopping, pass me by before, lightens the step further and reach even to push the swinging door before me "(p. 147-48). It is important to remember that writing Hornets (1966) and his first book (1965-68) is contemporary, there is even a mention of hornets (Hornisse) in that (cf . live without poetry , p. 192). Would be easy, too easy, do a cursory reading of the aesthetics of the thresholds, and resort to cheap to conclude that metaphysical poetry and prose Handke characters representing restless, dissatisfied with their current situation, seek elsewhere (as the two protagonists of brief letter to a long goodbye , 1972 or the banker The loss of image or by the Sierra de Gredos , 2002), but the fact that something essential in the literature of Handke is attached to the motion.
Another common element in his poetry and prose is playful consideration as to me, about which we shall return later: in his poems the character is in scenarios possible scenarios, seamless with the real (if they are real and no other plausible fictions Handke), something visible in the first poem The inner world of the world inner world outside (1969) . This means no testimony but performativity, an attitude of doing something, narrative intention. You can also see the gesture Hornets , observing the attitude of the narrator. On page 37 the voice that is telling us all of a sudden the book says "tells me," and lies within the characters. A little later, on page 39, writes: "I start the story again", and tackles a different perspective. And at 41, back again, "Narro me. I hasten to follow the narrative. " The narrator elocutorio, other than their own Handke, plays with the narration, the alter at will. So does first-person narrator of his poems: "I (or perhaps you?) I, / cavilo, / amuse me, / say, / on a hill / in a deathbed" (p. 273) . That say says as much or more on the performativity given to the subject that the possibility of opening to the second person. A say is the first word implied, of any novel.
3.-The observer (or character) of Handke, in poems or novels, has crisis loneliness. Out into the world to seek dialogue or experiences, but, even if you try, the inner insulation can only external voices. Handke's language is the pulse that makes the crisis. And in crisis, the observer returns to private life, but still lost, their lives. Does Peter Handke's speech is a window into a form of communication beyond language?
be in the picture (seated in it) and I just like feeling.
Handke, Essay on the fatigue
I think so, and I think this form of communication is the image. But the image just as today understand, daughter of a mother of countless screen pixels, nor the poetic image, but mental image communicated . This is another pervasive tone and theme throughout his work. The central book in this regard is perhaps The loss of image or by the Sierra de Gredos , as in this novel we have the exact description of the term "image" in a handkiano sense. Near the beginning, the protagonist walks through her garden, at some point something was assaulted, "he stopped. The street of the framers of pots echoed in Cairo: the smoke and dust of metal fell from the workshops. " The vision of a reality so far stops short. "Images like these will come continuously, especially in the morning (...) There were memories, or voluntary or involuntary, in addition, these images came like lightning or a meteor, and not left or slow down or stop" (Alianza, Madrid, 2003, p. 19). The character thinks they are media : "Some days there were no pictures: no-day. And I was convinced that something like this happened to all world. It is true that each object image was part of the universal world of each. But the image, the image was universal. Going beyond it, of it. Under the open image and it opens, people were in connection "(p. 21). In this sense, the image for Handke would not only communicable, but also the communication itself. It's the way things come to mind .
Handke imagines that deep in the Sierra de Gredos is a place where expatriate people from around the world have given themselves a new order of reality, with temporary and own language, related to nature. Another particular feature is that they have become resistant to images, something that reminded me of the Baroque movement of mistrust towards the image that brilliantly recalls Fernando R. Flower in Imago. The visual culture of the baroque and figurative (Abada, Madrid, 2009, pp. 46-47). Those people on the move, she says Handke, have become blind to images, and the locals have fought back by inventing the most bizarre artifacts to return them and take away the resistance to the image, filling the saw reduplications tecnoescópicas. "Each of them holds," says the guide, "who has not suffered any loss of image, what has happened is rather that they have reneged on the images. (...) What they think the returnees (...): It is true that the images are needed, without them there can be spread worldwide and there is no feeling of life. But especially in recent centuries has become yet one use of pictures and had not been done before. And so the world of images is exhausted, he turned everything without exception in some blind, deaf and tasteless, "and no science can no longer reactivate. And so now, at this intermediate time, the only thing that matters is the eye "(pp. 426-27). And look, in fact, what Handke tries to propose as a means to revive the image in his work, resemantizing the image, giving it new content. If I remember correctly, one of the first planes The absence ( Die Abwesenheit , 1992), the film version of the novel, directed by Handke himself, was precisely a plane in total darkness, which was to be taken from inside a train that slowly rose to the surface, light, what mirable. And in another he wrote that one of his literary purposes is "to apprehend the feelings and images to put words on those images" ( Essay on the jukebox , Alianza, Madrid, 1990, p. 116). This brings us to "blue Poem" explaining the procedure again: "The noises coming from the world of objects / (...) not needed close your eyes / to experience totally different phenomena / when he was staring at me, / and it would be arbitrary / describe the 'real' images / 'facts', / because in reality / only were the 'other' images / in that the 'real' swayed me more and more, / and 'other images' / allegories were not, / but moments of the past / released / by the feel-good / (as now remember / a hedgehog in the grass "( p. 485). Nature, whose language is much larger than any other, says in a verse of live without poetry , often usually means resemantizing the discourse.
The end result is that the image transforms the subject, because it becomes another, but not somebody else, but a version of himself that is elsewhere , which I find clearly expressed in a poem The end of wandering :
I, while I'm here, somewhere else ...
front or behind
elsewhere, a second self:
concern, a non-self.
who see , therefore, transported, "she began occurred in a flash of images (...) with this multiplicity and a series like this, comparable to a rain of asteroids, so compact, and also in widely separated areas of sky due to this phenomenon seems incomprehensible that the eyes can no longer continue and, however, would like, if possible, do not miss any of the asteroids "( The loss of image or by the Sierra de Gredos , p. 153), that is what the woman sees while driving . Other examples of such images, sometimes cutting dream, we can see a live without poetry , pages 251-57. Or: "Just start looking, the curtain becomes an image" (p. 269); "crossed my mind the image of the guillotine in your vertebrae crunchy" (p. 381). But this imagofanía nuclear Handke was already in his first books, computers All:
A noise I heard, I assigned images. The images I assigned noise not to hear. A not hear the sounds assigned images. Clutch noise and joint assigned the last car of the tram. In the light of the tram car I assigned separate images of passengers through the windows, to the knees of the passengers, portfolios, to the hands, folded newspaper with its smell of sour, the identity, hat and gloves white lipstick marks on the middle finger. I assigned the image of the mouth sounds and corresponding mouth was in front I assigned sounds correlates. I had the image of a face and the image of another mouth to exchange sounds and images of the respective bodies were inclined toward each other. Give lips images of mouth movements, and movements, sounds. Given to images of bodies that bent the conversation. I had images of bodies LE Cervantes, I had the image of the face that went before it turn and look the image of the other side that was, I had the image of this face to greet the first image . I pictured quite accurately the image of this greeting, I pictured the image of the arms extended at right angles to the bar and the fingers clung to it. Then I assigned to the image of the bar handholds to be swayed again free. I walk down the tram images of people, I had on board, that scour the coaches, to come down. ( Hornets , p. 74)
However, the images do not solve the difficulties of dialogue between people. This is a dark lesson handkiana literature. On this human inability to communicate to remember a central work of Handke, not too known, but which for me meant, as a reader and writer, a complete turnaround and an indelible impression: his play Kaspar (1967), which met in the version of Alliance of 1982, which is behind my poems Construction . It is one of the most profound works ever written about the power of language and the im / possibility of communication.
4.-In a world where subjectivity is largely uniform, who is Peter Handke?
"The word I began the difficulties," Handke writes in his poem "The division of property" ( live without poetry, p. 91). The rest of the poem is an acute thinking about how we use possessive pronouns when we want, and carefully parked when it suits us. The idea of \u200b\u200bsubjectivity as construction is ongoing in the literature handkiana, and noticeable in the poem "Changes throughout the day." Here are represented the different states or forms by which a person spends over one day, its different metamorphoses, to reach a predictable end: "Then, finally, I'm next to someone on the grass and I am, at last another "(p. 113). I think that Handke is not interested as much the result process , the gradual change perceptible only through experience.
concept experience and, in general, any element terminology which refers to the passage of an abstract to the concrete, is essential in Handke's poetic vocabulary. This concept spends opening piece The inner world of the outside world the inner world , title already significant and as the poem "Measures of time, space of time, local time." What happens, what should happen for something to happen, and how will we know that after something has happened and how we can tell, are all manifestations of phenomena that appear in Handke and stained deep questions but at the same time, a healthy sense of irony. In the last poem read some verses cited key, significantly linked back to the idea of \u200b\u200bthe gate, "to experience anything / I enter the hallway / open the door to the hallway / corridor and close to the door to the room / in the corridor and open the door to the room / in the room and open the door to the hallway / door opening / for experience something / and enter the hall / I could / experience / during the process of leaving / coming out to the patio "(p. 223). Its known Poem the duration (1986), Bergson base, is precisely define itself as the deepening experience: "Some time ago I write about life, / but not an essay or a scene or a story / duration calls to write a poem (...) I have repeatedly experienced the life "(p. 395). A descry these experiences are addressed during the rest of the poem a large number of images, and the book closes with the illuminating quote from Bergson: "No image will replace the intuition of duration, but many different images, taken from orders of things different, could in the convergence of their action, direct awareness of the point where you can pick a certain intuition "(p. 459). If TS Eliot noted in his Four Quartets the language as a means of reconstructing experience in effect, Handke does the same, except that their language is a language of images, made by words. But do not forget the order, which is crucial to understand its uniqueness: first images, words later.
These particular forms of experience are part of a larger arrangement between two concepts of semantics wider handkiana: event and language . This is the wonderful beginning of Afternoon of a Writer : "from convinced that once lived for almost a year, he had lost his speech, every sentence that writer noted, and even experimented with a possible start then had become an event. Every word spoken but made no other writing brought "(Alfaguara, Madrid, 1995, p. 9). Similar considerations are in his poetry: in "panic", Handke reflects on how something can not happen expected alarmed as well as the unexpected that finally takes shape (p. 211). Examines how singular and plural forms of the verb can be a stimulus or an impediment to the restoration of the sense experience (pp. 97, 153 and 247), is asked in several poems about the possibility of comparisons between phenomena and objects ( also Hornets , see p. 44) and, in general, and as a child of the twentieth century, systematically put in crisis and potential representation of language ("but I have no words to express it! " live without poetry , p. 269). We are not, therefore, both to metaphysical poetry, but rather a phenomenological poetry, pending here and now, looking in particular its justification and its diffuse horizon of expectations. For this reason, the reader is always near of these strange poems that recreate their own fantasies about the idea of \u200b\u200breality and its fuzzy outline.
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