Through this open letter responds Raúl Antelo Rosano and categorically denounces the scenes of the preparation of the Complete Works of Oliver Girondo to files prepared by Antelo. Following is the complete letter published Ñ grossly reduced.
ñ I just read your review of homage to Oliver Girondo Jorge Schwartz. It echoes the assessment by the same Schwartz, in the back of the volume of the Complete Works that went to the UNESCO Archives collection are not such. You may not know you or the editors behind the scenes (Indeed, I doubt even they have had occasion to see the book, with erratic and mysterious movement in Argentina). So I put them on record.
In 1989, Amos Segala, director of the library, convenes in St. Paul to a number of critics to assume the task of editing some works that would comprise the list of files, according to the premises of genetic criticism. Schwartz received the responsibility of editing the narrative works of Oswald de Andrade (still unpublished) and I Girondo poetics. In subsequent trips to Buenos Aires, I find materials, hitherto unknown, which allowed us to advance the two hypotheses most interesting reading of that work. First, that avant-garde poems voyage card are nothing more than the refurbishment of the chronicles mundane, modern and anonymous, which publishes a journal Oliverio Plus Ultra in the decade of 10 and, second, that there is no way to interpret the poet's work without a network of architects of the modernization, which reads both the original poem Scarecrow (which would not be possible, as clearly seen from the manuscript, without the aid of a printer accessory), or in the poems arche, the fruit of the cemetery was excavated archaeological NOA Quilmes, which until then ignored and that proves to be of great importance because it provides a subtle but strong line continuity with the poetic anthropological Arturo Carrera, the best poetic heir of the Gironde. In sum, the issue Archives proposes a postmodern reinterpretation of the vanguard.
I was not alone in this process. I accompanied a team of Delfina Muschietti, Adriana Persian Kamenszain Tamara, Francine Masiello, Mexican Rose Corral, English Trinidad Barrera, Roxana Páez, Patricia Artundo, two colleagues in the area of \u200b\u200bart Rosario, Guillermo Armando Fantoni and Adriana, in addition to two poets, the Brazilian Régis Bonvicino and the same race, which prefaced the work with a beautiful poem, in fact, a meta-poem, "Oliver's foot." Last but not least, Jorge Schwartz. All were, with years of anticipation, my job of putting together variants, manuscript and edited, so that the instructions were clear: to base their analysis on the new text provided by the Archives edition and not in the edition that Losada then circulated. Amos Segala
had the greatest interest that the volume could be presented at the Feria del Libro (Buenos Aires, April 1999). Therefore, the deadline for delivery of the originals had been set for the end of 98. The last week of December that year, I traveled to Paris and handed them over the entire volume Segala, except the support of Schwartz, who came slowing delivery time and time again. I finally proposed to deliver their collaboration in January or February, when a workshop would conclude just in Poitiers, but I remember saying that: "No, George, is in trust (sic). If you're going to send the test in February so I read it, return it to Segala in Paris and he in turn forward it to the workshops in Madrid, this does not come to Buenos Aires released in April, so that it delivered directly to Segala and send me a copy so I know. " This was done. In March, receiving Fernando Colla, assistant Segala in Poitiers, a copy of Schwartz let them work. He put it in the mail 15 days after having passed through Poitiers Schwartz-like years later, it ended up admitting Segala-express request of Schwartz, and perhaps to prevent any reaction from me.
Schwartz's collaboration, "Poetry unpublished poetry in the rear and Country Two night our Girondo Oliver," is based on the manuscript of this last poem, which Schwartz receives a copy of another partner, Patricia Artundo (who then ran a doctorate at the Universidade de São Paulo) and a photocopy of those night, scattered newspapers Montevideo, Uruguay's Pablo Rocca colleague kindly ceded Schwartz. It goes without saying that the most elementary rule of ethics EDOT (To say nothing of mere worldliness) had been forced to Schwartz to inform the editor of the volume, Raul Antelo, that in turn report it to all supporters, who probably would have things to add or modify in their respective trials. Amen, of course, to include the unpublished volume in the body and not as research material, individual side. But there would no longer have an unprecedented, and a win on the sleeve to claim that Schwartz's Complete Works were not such. If it is true that "missing" some text editing files, it is legitimate to ask what responsibility lies with Schwartz on it.
That this question remains in the limits of the racks, go and go. I have had to share a post with Schwartz several professional situations. I've tried to fix but have limited obviously irreversibly, my confidence in him. I note embarrassed, seeing the tribute at the tables of bookstores in Buenos Aires, Schwartz claims the right to be critical of a company in which he participated. And further, that this trial, "the complete works are not complete," which can, in short, to understand "that work is nothing," runs the risk of becoming a summary trial to convict, even if possible, to I forget a lot of time working and people. More serious still, having played in ñ this trial, you Susana, unknowingly, and probably unwittingly helped damage the evaluation of this work and, paradox of paradoxes, has issued the first opinion on this critical Clarín work of 708 pages hardcover Bible paper, Clarin both as a nation, at the time, ignored, though the editing Babelia aroused the interest of the supplement of El Pais in Madrid, which gave him complimentary half page. Not in game, obviously, the peer assessment. I have heard just what Elida Lois, the leading authority on Hispanic genetic criticism, or Beatriz Sarlo have to say about Archives edition. So it is not the ego sum that is in the game but the cum ego, a way of conceiving the social bond, the ethical relationship with the texts and with peers. Sorry
Beatriz Viterbo, editorial that much respect, could not perceive the inadequacy of this formula and free opportunist detract from the work of others and that you, in a healthy ignorance of this background, the repeated. But I am alarmed that, meekly, turning vice and virtue finish annoys me having to passively attend to that act of destruction as typically national.
I would like to know that the supplement or the publisher could heal this manifest injustice.
I believe that someday I can meet personally and talk about more pleasant.
My best greetings. Raul Antelo
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