Home » Review of Enemigo modesty, by Luis Chitarroni: verses behind the light

Review of Enemigo modesty, by Luis Chitarroni: verses behind the light

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Review of Enemigo modesty, by Luis Chitarroni: verses behind the light

A total reader of an era without boundaries, Luis Chitarroni (1958-2023) dedicated an essential portion of his critical vocation to poetry, which can be seen posthumously in the articles rescued and collected from Enemigo modesty.

Condensed complement of the summa The day after tomorrow (2020), the book prepared by the editor and poet Eduardo Ainbinder flies with a keen eye over some defining names of the 20th century (Marianne Moore, James Joyce, Francis Ponge, the Ferrater brothers) and then turns fully in the abundant Argentine poetry.

But the volume also allows access to a sample of four decades of written craft, where Chitarroni’s always elaborate style travels between clarity and hermetic words, sentence and deviation, individuality and modesty, perhaps that oscillating “modesty.” of all wisdom.

An impossible balance similar to that of having expressed oneself in media of dissimilar scope with imponderable coherence (the texts collected here range from literary magazines to mass newspapers), maintaining the highest bar in terms of erudition, dedication, concern and honesty, a level of self-demand that Chitarroni made seem accidental and that today is read as a miracle from another era.

The Borgesian precision and the baroque folds equally fascinated the Buenos Aires author, who took the resistance of meaning to the extreme (also a tenacious struggle with the false transparency of the market that he conveyed as an editor) in his anti-novel Peripecias del no, vortex of a meticulous system that Chitarroni supported in conclusive pieces of its genre, as if adding another was unnecessary: ​​the novel in El carapálida, the profile in Silhouettes, the essay in A Thousand Cups of Tea, the story in La noche polyteista, the poetry in Una immodesta disproporción.

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Enemy modesty thus functions as the background of readings of a consummate training, a reflective immersion in the drifts of verse knowing that it is the foundation of all language and literature, at the same time tied to the arbitrary aegis of the national.

This immediate cut takes on a fleeting exhaustiveness in the entries, which go from Lugones and Mastronardi to Girri and Pizarnik, and stop at the contemporary work of Roberto Raschella, Fogwill or the Lamborghini.

Lastly, there is room for an intimate profile of Ricardo Zelarayán, a dialogue with Néstor Perlongher and Chitarroni’s presentation of Children’s Corner, by Arturo Carrera, where he warned: “I am going to read at the speed of Tato Bores.” Once again, that enemy modesty.

“Enemigo modesty”, book by Luis Chitarroni.Enemigo modesty. Luis Chitarroni. I’ll be quick. 150 pages. $7,400.

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