Macedonio Fernández (3): poezia lingvaĵo kiel 'persona Esperanto'

Jen antologio da verkoj de Macedonio Fernández en anglaj tradukoj:

Macedonio: Selected Writings in Translation

Jen citaĵo el la Enkonduko:

The poetry of Macedonio Fernández is doubly strange: strange for the unaccustomed conceptions of birth and death, life and love on which it rests, strange for the metalanguage created for their expression. Juan Ramón Jiménez described the poetic language of Macedonio as “a personal Esperanto, the language of nowhere . . . the tongue of Dante, Blake, Hölderlin.”

— Jo Anne Engelbert

Jen mia traduko:

La poezio de Macedonio Fernández estas duoble stranga: stranga pro la nekutimaj konceptigoj de naskiĝo kaj morto, vivo kaj amo sur kiuj ĝi baziĝas, stranga pro la metalingvo kreita por ilia esprimado. Juan Ramón Jiménez priskribis la poezian lingvaĵon de Macedonio: “persona Esperanto, la lingvo de nenie . . . la lingvo de Dante, Blake, Hölderlin.”

Koincide, ĵus aperis afiŝo pri Juan Ramón Jiménez:

Juan Ramón Jiménez de Antonio De Salvo (Esperanto-vivo, 24 Decembro 2019)

Macedonio Fernández reviewed

Macedonio Fernández, The Museum of Eterna's Novel (The First Good Novel), translated from the Spanish with an introduction by Margaret Schwartz, preface by Adam Thirlwell (Rochester, NY: Open Letter, 2010).

In a previous blog post, I quoted briefly a couple of passages about Xul Solar. Here is a more extensive excerpt:

From “Prologue to the Never-Seen”

And here is my review of the novel, together with a table of contents I composed:

The First Good Meta-Novel?

Here is an excerpt from my review related to the prologue excerpted (see prior link):

He makes some tongue-in-cheek references to futurism. He jocularly ponders reader reception, the role of the audience. Without the seductive music of language and an audience, there would be more beautiful works of art, several Cervantes, Heines, etc. Again we find an attack on realism. I find this interesting, if unconvincing, not only for the reference to Heine and other great artists, but for my (and Borges’) interest in combinatorics. There is also an amusing musing about the creation of neologisms, with reference to the artist and language inventor Xul Solar. Invention for Macedonio precedes and supersedes what we call reality.

Jorge Luis Borges was greatly influenced by Macedonio, though I am not certain in what ways. What he thought about the multiplication of works of art as Macedonio indicates, I do not know. I can see how Borges used this idea, but I can also see how Borges would have found the mere manipulation of combinatorics wanting.  File this in The Twilight Zone under ars combinatoria.

Macedonio Fernández & Xul Solar

Also, there's a new German word in Spanish that I consulted Xul Solar about in his workshop "Languages in repair." It's an amended adjective, but new, not like mended boots. [ . . . . ]

[. . .] I give the book to the public just to turn around and put it through the linguistic workshop of that singular artist, Xul Solar, who will make it into one, definitive word.

*   *   *

. . . the only genuine way to practice futurism is to put it off for later.

— Macedonio Fernández, The Museum of Eterna's Novel (The First Good Novel), translated from the Spanish with an introduction by Margaret Schwartz, preface by Adam Thirlwell (Rochester, NY: Open Letter, 2010), pp. 40-41