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Omar Pérez escribió en los 80 un libro capital para la poesía cubana, Algo de lo sagrado y con aquella poesía civil de influencia anglosajona, impuso un cambio en el ambiente lírico, íntimo y sentimental de sus contemporáneos inmersos en el “yo” contra lo épico. Esta ruptura se trastocó después en mística, desviándose de la trayectoria del sujeto político que fuera en otra época, y se volvió oración, rezo, canción en libros posteriores, bajo la influencia del budismo y de otras lenguas que aprendió junto al sonido permanente de sus tambores. Fiesta y dolor; locura y lucidez; creencia y duda intelectual a la vez, son extremos que hallo en este recorrido, tratando de fundir espacios lejanos y arcaicos, sensaciones que traen lenguajes múltiples con osadía y mimetismo. – Reina María Rodríguez |
Algo de lo sagrado / Something of the Sacred Omar Pérez Poetry Spanish with English translations by Kristin Dykstra and Roberto Tejada, plus an essay by Kristin Dykstra PS3577 Cover art: "Untitled," photomontage by Lili Maya. (For more info: www.lilimaya.net) ISBN: 978-1-60001-986-9 $19 Direct from Factory School: Volume and student discounts available.
Omar Pérez López (1964—) was born in the city of Havana and has lived most of his life to date in Cuba. A former journalist, Pérez has explored a wide array of literary genres, particularly poetry, translation, and the essay. […] At the center of Something of the Sacred is the exploration of displacement. Pérez sees poetic metaphor as “the subtle displacement of something objective.” […] His apparent strangeness, particularly in his varied uses of Zen traditions, has prevented critics from grouping Pérez very comfortably into movements with other writers in contemporary Cuba. […] Pérez has been connected most frequently with Havana’s “Generation of the ’80s.” Raised under the auspices of the post-1959 Cuban government, this generation of writers had never experienced the island’s earlier governmental or social system. Seen as the product of the Cuban social experiment accompanying the new government, they were raised to envision themselves as participants in a revolution of global resonance. By the 1980s, however, the most utopian elements of this vision had been complicated with a series of experiences suggesting the need for further critical thinking and reform.… —excerpts from Kristin Dykstra’s commentary on the text
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