Alejandro pidello dir (1 résultats)
Edité par Rosario Argentina Biblioteca popular C.C. Vigil, 1972
- Couverture souple
- Périodique
Vendeur : Chaco 4ever Books, Montevideo, MO, UruguayChaco 4ever Books
Contacter le vendeurVendeur avec une évaluation de 5 étoilesEtat: Occasion - Bon
EUR 180,32
EUR 27,57 expéditionExpédition depuis Uruguay vers Etats-UnisQuantité disponible : 1 disponible(s)
Encuadernación de tapa blanda. Etat : Muy bien. In-8. #7 Nov 1972, #9 Jan/Jun 1974. Wrappers. Collaborators : Enrique Olivay, Guillermo Boido, Otto Rene Castillo, Jose Luis Villatoro, Eduardo Dalter, Manuel Ruano, Daniel Freidemberg, Cecilia Steinman, Among others. In 1971, and until the second half of 1974, La Cachimba Ilusiona…da was published in the city of Rosario, promoted by the young poets Guillermo Colussi, Jorge Isaías and Alejandro Pidello. Although it began as a small plate of poems, in the third month the project took on another dimension and became a magazine, bringing with it new challenges. In a first stage it published writers from Rosario, but soon added poets from Córdoba, Entre Ríos, Tucumán and La Rioja. From its fourth issue, its name became La Cachimba and it added the writers of El Lacrimal Trifurca (1968-1976), a renowned Rosario literary magazine of the time, which had 14 issues by Francisco and Elvio Gandolfo. Although it can be seen as a craft magazine in its first issues, La Cachimba went on to be printed by La Familia, the Gandolfo's printing house, and concluded as a magazine that is on a par with other renowned magazines in the history of magazines. Argentines. In its successive issues, it also included poems by writers from Peru, Nicaragua, and Guatemala, Nahuatl poetry, poetic prose, notes, interviews, and translations. Although it was a magazine devoid of an editorial/manifesto, an avant-garde stance and a Latin Americanist look emerges after reading the complete collection. This is how an ethical guideline can be restored from the third number, when a certain social and political criticism begins to creep in even in the most sentimental poems and, later, in the choice of poets to translate and texts to publish. And also, an aesthetic guideline when in the tenth number the intention of publicizing the work of writers of the sixties generation, such as Rubén Sevlever and Hugo Padeletti, grouped around the magazine Pausa and El Arremangado Brazo, is made explicit. Tarcus p64. Z1.
