MAGAZINE OF GARBAGE COLLECTION
Nº 29. YEAR 2000- DECEMBER, THURSDAY 14
FUSIONED - DIRECTED - WRITTEN AND CORRESPONDED BY: MENASSA 2000
WE DON'T KNOW HOW TO SPEAK BUT WE DO IT
IN SEVERAL LANGUAGES
SPANISH, FRENCH, ENGLISH, GERMAN, ARABIAN, PORTUGUESE, ITALIAN, CATALAN
INDIO GRIS, IS A PRODUCT
OF A FUSION
THE BRIGTHENESS OF THE GREY
THE JARAMA INDIAN
THE FUSION WITH MORE FUTURE OF THE
INDIO GRIS Nº 29
is as if the Marketing Department were missing in all my stories.
There are many persons that live from my stories and I have to work to go on living.
are people that have even won contests using my verses and I'm still an almost unknown poet to the press and its
have resuscitated more than a thousand with my personal kisses. Afterwards, when
I need a personal kiss because I'm dying, I have to pay for it cash.
someone will say to me: Menassa, you lack a Marketing Department.
I'll answer with much feeling:
And I'd also like to be the President's girlfriend.
like to know what the Presidents in Nice took to be awaken three nights and
their days. If we could give the same substance to the proletariat we could even
double the production of goods. Though to tell you the truth,
the poor presidents ended up tired, Mr. Aznar, for example, looked like
Mr. Aznar, but in slow motion camera what could be seen with more clarity were
the faulty movements of the President when speaking. His movements have no
bends, they are sort of square, stubborn, up and down, to the left or to the
right, backward or forward. Being so sharp in his movements he transforms the
bends into cliffs, a simple "good morning" as a governmental
imposition, transforms a smile into a grin.
remained clearly explained was that in eight years time, the European Union will
be called French-German Empire and, in less than five years, we will expand, of
course as Europeans, the "crazy cow" disease throughout the world. And
when somebody asks us why we have poisoned the whole humanity, we'll answer as
Europeans do: As we didn't have enough budget we stopped doing the necessary
controls, as we didn't have enough budget in England, nobody studies Medicine
anymore, as we didn't have enough budget we prohibited Psychoanalysis.
opens for the Eastern countries a Europe with several gears: rich, poor and
Madrid, June 16th,
Your two letters together, it was a long time since I received two of
your letters together. I felt very happy. I showed the letters to
everyone. I read them repeatedly. Repeatedly I recalled our conversations
of long ago.
life is slowly changing, God knows in what direction. A kind of small print at
home, a copying machine, an electric typewriter with four different letter
types, make almost everything possible, when it comes to publishing. The only
thing we don't have to complete the process of editing, is binding. With some
effort we can publish 700 copies of each book.
by little, in 30 or 40 years we'll be able to live from our writings. I'm all
right, my last writings say so,
apart from the already mentioned books, I wrote on May 25th, a
thirteen-pages poem in homage to the 1810 May Revolution (Argentine Revolution)
and a sixteen-pages beautiful letter to Sergio where I try my first construction
of a certain group history.
the time being I prefer not to write, but rather to publish all that has been
written up to now, at least those of the Madrid group, around 17 titles of which
four are mine.
by little, without anybody realising it, I'm putting culture in my pocket and
speaking of the pocket, I'll tell you that all the money I can earn I spend in
letters, publications and distribution of publications.
I want you to tell people, if there are people left in Buenos Aires, that I
don't want to be immortal because I'm already immortal and that my only interest
is to live 200 years and nowadays, this question of the 200 years is the most
serious thing I'm thinking of.
darling, I promise you, in a few
decades Europe will forget its surrealist movement. Our writings will, little by
little, make us forget all past.
Group, I see it clearly now, is more than a simple new style. It is what you may
call a revolution of all styles. Cero Group, its writing, questions all way of
saying, all way of living prior to us.
Psychoanalysis I want to say that it is one of the most precious instruments at
our disposal. Something that started in our
adolescence, I mean that passion put to play makes movement immortal.
Psychoanalysis will always be among us.
it is not happening
it can only be read
on CONDEMNED POET
man, Poet, Psychoanalyst, in any case condemned to be that, is who talks to us
from the pages of this fundamental book, edited by Grupo Cero
Editorial, within the " Narrative 2000” collection.
book picks up the notes and drawings which the author had been doing during the
summer of 1999. In that magnificent conjunction between word and pictorial
stroke, in that frame, with that method of exposition, Menassa unstrings, phrase
after phrase, a theoretical body of aperture, product of his scientific work in
a field: Poetry and Psychoanalysis, which is Psychoanalysis. We cannot forget
that he is a poet who dares to be Director of a Psychoanalysis School.
text is presented to us as a manifesto and in some moments it is also a statute,
a new constitution, a law above all laws.
of '99 or of the condemned psychoanalyst; I believe it to be also a manifesto of
the condemned poet. As a manifesto, this text marks a point of no return.
Reading it is like looking into a significant dimension of what is human where
we see that there is at least a
man, an author, encouraged by an idea: "If one is not able, no one will be
able". Magnificent invention that opens a fundamental slit that atomises
that prior theory: " While there is a man that man cannot deal with, there
won't be a man".
man inventing new roads permanently, and always tells us, it was necessary to
desire and work for the road to
read this text and continue to be the same person is impossible. The text
strikes us with great force, its enunciation-phrases crack like brilliant whips
that set our thought, our morale on fire, questioning our way of being, our way
of loving, of writing, our own daily life.
the first time I receive a book of Miguel Oscar Menassa and I find myself with a
text that is impossible to comment in a few lines
because its reading provokes to make a halt and to stop looking at the
pages to read beyond what is written.
the different Menassas: father, doctor, lover, poet, writer, psychoanalyst,
etc., his lover side is perhaps what best defines what he unstrings in every
line, both written and graphic.
of his 59 summers, perhaps quite different to what he displays in this text,
grieving like lovers over those years in Buenos Aires. Doubting like the lover
between giving the step and taking the plane to shelter himself in his beloved
tangos, or keeping himself quiet but always alert.
Oscar Menassa, with an agile writing, shows us without modesty a whole
succession of thoughts and desires
that occur daily to any traveller but for whom writing about them is like
revealing an unspeakable secret. Here the author tell us that they aren't so
secret, nor so unspeakable, nor even so individualistic, they are things which
also happen to him, a grown up man, "…I am alone once again as suits a
great man or a great solitary man…".
the book in any page we are stopped by phrases that don't allow us to continue
as the density of the content makes the reader go back thinking that he has
missed something, but it isn't so, because going on reading the reader keeps on
finding the reasons for almost everything.
as a lover he allows us to complete phrases, and
this way we become accomplices of his condemnation.
condemn to love without being able to escape a punishment which at the same time
by information of his tightly packed and fast-moving life, we learn, based on
strokes of painting, what although unknown appears
direct. He interweaves with a continuous and disorderly planned torrent
of perfectly structure ideas that are directed to the basic columns of
Psychoanalysis, of life, sex, money, work, drive, desire…
being afraid of coming down to the arena, he muddles himself up in his
note-books and, with a sometimes brutal didactic, shows poets,
psychoanalysts, members of Cero Group and other readers the nude reality
of the filth we all go through and overcome.
poet of life, condemned to be alone permeates that grandeur of being alone,
which isn't being in solitude: finally independence. To remove the ballast to go
higher and higher, and tell us: "… when I travel so high I prefer to
of desire, condemned to the celibacy of individualism we read: "Darling, we
have to begin our real romance, each one of us will be what one is and this will
have been wonderful".
leads us among absurd thoughts made by illusion and questions without answers,
along his well done work, previously well paid for. This lover who draws us
along the edge of each page to the end without an end because his condemnation
continues beyond this text.
effect, the point between cover and back cover where we start reading this
condemnation doesn't matter. In making us companions of the poet's cell he makes
us substantiate the condemnation as
it occurred with that Montecristo who culminated his punishment with wisdom, his
work with money, and his love with cruelty and because, as Menassa says:
"… one cannot live without love, but without some cruelty one cannot
reach old age…".
prose, poetry in prose; condemned poet, condemned psychoanalyst or vice
versa. Poetry and Psychoanalysis, Psychoanalysis and Poetry; a field
in which Cero Group has worked on in Psychoanalysis, inaugurated by the
author of the book we are referring to.
a newspaper - Month of August, 1999 - divided into notebooks and days, what is
written and the dates pile up, follow one another, overlap. Thoughts written to
be qualified as thought that leave a mark in the reality of poetry, in the
reality of Psychoanalysis and drawings, faces of the being in its humane
dimension, specular reflection of what belongs to the group and the singularity
in each individual.
manifesto is always a declaration of principles, a way of programming for what
is forthcoming. A stop and at the same time a full stop. In the first lines
Menassa points out the essential crack of all man; that permanent double
dimension between what he does and what he should do, between what from all
viewpoint can't be waived - his sexuality - and his ambition. He calls it
illusion: the sublimated desire, what will leave its mark - the one that belongs
to it - in what is social. And this way, what is shown along these 83 warm pages
is debated - questioned - pure development of a writer who surrenders to work of
being one in the two aspects which are significant to him: Poetry and
transmits us - in this, theoretical book, indispensable for those wanting to
mould themselves as
psychoanalysts - that renunciation is not only necessary, that each man
should construct his own and that there is no other way out but the one which
each one of us is decided to pay for. And though
it is payment he is talking about, the money, the luck, the family - that
is to say, the influences - are worthless because life is a game that cannot be
won or lost. It transmits to us that the debt is symbolic, impossible to become
exhausted. That goodness is good for no one because the one who can't, can't and
that truth - strong and simple - is the Law.
wander about the book from beginning to end, to try to reveal the mystery hidden
behind the adjective "Condemned" that qualifies the author, was a
passionate task, even though the solutions were given in the opening phrases of
this work. Solitude cannot be an obstacle, being capable or not cannot be an
obstacle: the grandeur is wanting to continue and that is a decision which
transforms the essence of man, whom is fatally destined to continue.
to Cero Group Editorial, the psychoanalysts wherever they are, the poets locked
in each soul, the author for his grandeur in being a witness of his exposure in
AN UNLIMITED DESIRE
AN UNQUESTIONABLE TENDERNESS
book written by Miguel Oscar Menassa
To get along with your partner in the Holiday Season
and during some of the working days
Letters to my wife
By Miguel Oscar Menassa
author of this book resorts to a formula of literary expression which has famous
antecedents just as much in verse as in prose. Since Horace, with his Epistle to
the Pisones. Since Garcilaso and Boscán. Since Montesquieu, followed more or
less by Cadalso, Goethe, Dostoiewsky… Letters are a resource that enables the
writer to open his work to mystique, with Saint Therese and in poetry, with
Rilke. It is a flexible genre. It admits confidence and theorisation, realism
and idealism. I suspect, from what I know, that it is a suitable genre for a
literary personality - and perhaps for a temperamental writer like Menassa.
That's why I think it is very intelligent of him to have adopted it in this new
product of his indefatigable work.
- according to what I believe - is above all a poet and psychoanalyst, and in
this book he appears in this double - and perhaps consolidated - condition. I
was going to say these essays, I was going to say it because several of these
pages are small essays around social themes. However, what prevails is the lyric
effusion. Of course, the poet and the psychoanalyst meddle, overlap and
complement each other, because poetry is born in the psychological kingdoms of
the ego, always a little absorbent.
is a rather subjective writer, and that he has gained for lyricism. He is also a
diver in the interior seas and in human reactions, and this is a point in favour
of his poetic-chaotic style. So that, at some moments, these letters acquire the
rank of a poem in prose. Another stylistic band that his restlessness deals
with. The poem in prose, since Baudelaire, was considered by symbolists and
surrealists and, in Spanish, it remained "canonised", to put it in
some way, thanks to the important study done by Guillermo Díaz Plaja. Some
poems are inserted in Menassa's texts, but what is
fundamental is the poetic treatment
of the prose itself, what each phrase has of connotative language over
mere denotation, and the support to reach substantiality.
genre also admits fiction. The letters, sometimes, aren't really that and the
addressee can be invented.
in Menassa's style: what he has written are more personal commentaries than
letters. Second, the addressee is
real and he/she is identified right from the heading. Although, as the book
develops, that second person gets away from the discourse, goes on losing
importance perhaps because the value within the book - leaving aside real love -
is like an instrument through which one can see the world. A world though,
filtered by the loving attitude,
contemplated and valued by whom has near him a beloved one. It isn't certainly
little, but the character of the addressee fades away. This is corrected in the
final letters, in which the tacit protagonism is given back to the presumptive
reader. It is when a certain shade of discouragement leads the poet to the
intimate shelter of love. It is the seek comfort, with the desire that a kiss
and the morning sun may perpetrate in his own history.
ideological substance shows existential areas and moral shades. The poet knows
that we are "condemned to continue living" although he is vital and
sometimes exultant. He also knows that there is a cruel world in front of which
we cannot close our eyes, although he is pragmatic. Personal circumstances
accumulates and are like lenses to contemplate and modify situations. Love, sex
and poetry rule, in a way, moods. Sex isn't sublimated, only its freedom and
great part of these letters is self-reflection; even confession. A certain
thematic chaos favoured by his own tendency towards parallel surrealism that the
author cultivates based on his psychoanalytical profession. Because we also find
aesthetic norms, like "poetry is unconscious thinking" and moral ones,
like " love is born from stems torn off from the specie".
prose sometimes with an idealistic flight that has no shame of slightly touching
the crudest reality with expressions of verbal ease. Constructions and
expressions from Argentine Spanish are not missing.
complex and diverse is this new book from Miguel Oscar Menassa, who is
recognisable in his personal style made up of some fifty "sui generis"
epistles in which his condition of
poet excels above all.
LEOPOLDO DE LUIS
“This novel is a monument to desire, not to its satisfaction and desire doesn’t fit in moulds norms”
Leopoldo de Luis
“ Menassa transforms eroticism into a real encyclopaedia of sexual relations”.