Andy Cody, Corbin Fisher

A SONG OF THE EVENING SUN FOUR ELEMENTS

A song of the evening sun as you look

sadly and you read a vague thought while watching the empty

yes, we're bored as two tigers caged

and we looked lost
between eternity and anguish
then to turn the shadows of the gipsy
sounds Valparaiso Rodriguez then

deeper digs us sad, but joyous
then
eyes meet we look
look at me look at you and that sadness and that boredom is a hymn to

setting sun

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INDEPENDENT PUBLISHERS PUBLISHERS INEPENDIENTES III IV

It Time to talk to David Ortiz Celestino, the talented editor of the magazine Dogs dawn

RMS: What edited in Mexico when the statistics do not report high readership in our country?

David Ortiz Celestino : The issue to edit, search for authors, try to get sponsorships to survive (or resistive) is always compensated when you discover that in our country, perhaps today more than ever there is a proliferation of great writers, authors are very successful are undoubtedly sufficient pretext for almost anyone to read. Even more rewarding is to see that literature-which is the subject that interested me has been decentralized in a manner barbarous. Today is no categorical imperative to go to Mexico City to see what is happening in the country. Take only a matter of out to convince other states that good literature has no designation of origin, but fortunately is feeling very good health in general. In Mexico, the percentage of reading has been historically low, however, I find it hard to decline, by contrast, are more likely to be on the rise now that there are highly efficient means to disseminate it. The instruments are there, just a matter of the editor put his talents into play and make things relevant.

RMS: is said that independent publishers are the habitat of Mexican literature, but also the work of the editor is very little recognized. What do you attribute this disparity between the effort expended and little reward received?

DOC: this disparity may be noted as a natural consequence that matters to the reader who is the author, it is visible. The best reward you can receive the editor (in addition to the economic, of course) is to have the author or authors who published (promoted, if seen from a pragmatic aspect) to be read. The fame, the recognition of an author, no doubt come along with the quality and commitment of its editor and the entire device rotates it around the publishing industry. When there are flaws in the book is when the editor comes to light. He who does not speak or reference signal or the editor is that things were good or that ultimately the book or newspaper is not worth it. In these last respects to personal opinion, is the most we should be concerned.

RMS: What is your perspective on e-books and internet? How do you think they affect your work as editor?

DOC: affect, yes, but in a positive sense. I think that if young people and adolescents, those familiar with new technologies, able to read a whole book in your e-book, if only for novelty, always a great achievement for any editor. The e-book, despite its high price, can be very useful, as it has the ability to load in it a number of electronic books or files that would otherwise be impossible to move. As for internet I think it is a working tool now unavoidable. As editor, such as display manager and literary, both blogs, podcasts, the web pages and Facebook become a great help to meet the authors who publish and make contact, locate and know what to write. It is difficult to do without them, especially if your job depends on establishing professional relationships with authors from other states and countries and to investigate what are contributing to culture. But also, like everything, is tricky. While the national literature has many great authors, there is also a scandalous proliferation of people who tend to write quite unfortunate texts indiscriminately and brings her personal page or group, thereby achieving a wealth of information that gets complicated -not impossible, but quasi-editorial work. That's where our real work begins as an editor, which is to read, sort, rule and select from among all the good and the best

RMS: Do you think the web was able to move to the books and physical magazines?

DOC: think it's a "natural" process, but the paper does not disappear altogether. The reduction of this undoubtedly will be of great help, as will lower the indiscriminate deforestation and all its attendant evils. Looking
more romantic side, I think there will always be this need to have synaesthetic the physical book, reading it, smell it, touch it, to leaf through it, to manipulate, to include him as a fellow traveler, to resort to it without fear that the battery runs out or scratching the screen or falling to the floor and no longer serve. I think that nobody is willing to dispense with this type of stimuli.

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so fast

These days not writing
sea and sand have been
paper pen and ink
clouds have been
and ink
wind
these four elements alone has made me grow
lines and shadows without ambition
the wind has been the master
and contemplation
clouds ineffable sea and sand


time since I have only to record the silence

waves and the murmur of sun tanned skin
in the eternal
was momentary and a second


eternity Nothing has been finally only

sound of silence and the scent of
absence of what once was

your reality so quickly

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This time we talk to Cesar Tejeda, director of the journal Suicide

The RM What does editing in Mexico when the statistics do not report a large readership in our country? César Tejeda

: a couple of years ago I took a diploma in book publishing that gives the teacher Miguel Angel Guzman. In the first class, before going into the technical aspects of the subject, the professor said that in Mexico there were not enough readers because editors Mexicans are bad. When I heard that my first reaction was hesitation: "So we forget the cultural policies of nearly non-existent and inadequate educational policies? That name just a few of the things that tend to blame when it comes to Mexico and reading. " I still do not agree with that statement, I assume as partially true: the editors are only part of the blame. Anyway, I decided to take that idea into a professional level. Blame, blame all the publishers, drives me to work better. Edit means to create readers.

RMS: is said that independent publishers are the habitat of Mexican letters yet, the work of the editor is very little recognition. Which attribute this disparity between effort expended and little reward received.

CT: I think they are two different questions. Or at least in my experience they are. On the one hand I believe I am sufficiently recognized as an editor, although I'm underpaid, recognition does not involve money.

prefer not to think that evil will always be paid for my work. I choose the following projection: I'm starting today and the sacrifices represent benefits tomorrow. Maybe I'm wrong, but I see no way he could continue working if I'm always thinking that we fail economically.

RMS: What is your perspective with respect to e books and internet? How do you think they affect your work as editor?

CT: I started seeing it as a problem: my first publishing project was conceived on paper. We thought that the bombers should be a physical magazine first and foremost, even before they literature. Now we have a complex website and we think the future of publishing is there. One thing is indisputable: Since we rely on the internet we have tripled (conservative figure) our readers and what editor would not see that as a good thing? I started defending the paper, now advocate the literature.

RMS: It has been much speculation about the end of the paper web Do you think the move to achieve the physical books and magazines?

CT: Most of my friends spend more time in front of the computer facing a book. At least, considering most of my friends, books and magazines and were physically displaced.

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independent publishers II

Literal continues with the recently established with editors of independent magazines. This time we talked to Federico de la Vega, director of reprints, journal of thought and artistic exercise.

RMS: What means edit in Mexico when the statistics do not report a large readership in our country?

Federico de la Vega: Look , edit Offprint by fascination, by the admiration I have for the writers, read for the pleasure of creative work from a critical perspective to select and sort each number. In me a need that caters to the taste for the job. This is the first impulse that motivates me to keep a monthly publication. The index reading
you mention is a situation that has always existed in our country and is a consequence of the policy. Mexico has very serious problems which in the very century XXI is a shame to recognize: public health, education, and job security mainly. While there is a more equitable distribution of wealth, the company can not address issues such as the appreciation of the exquisite art or reading, people are seriously concerned about finding a job in getting food for the day and obtain security social. A simple example: the government pretends to be concerned with developing programs to promote reading, think that a book costs about three hundred dollars and the money to eat a family of five for about three or four days, did you think that at least contemplate the idea of \u200b\u200breading? Of course not! Well well, about sixty percent of the population are in that situation, in which his only concern is survival. And not to mention other problems such as access to education is a very high rate of individuals who can not read. If the government were truly concerned that people read it, would pose a national project where the objective is a better quality of life of Mexicans, with better prospects and opportunities not only economic development but human.


RMS: is said that independent publishers are the habitat of Mexican letters yet, the work of the editor is very little recognition. What do you attribute this disparity between the effort expended and little reward received?

VSF: I think the work of one who publishes a literary magazine is a big commitment, because in Mexico we have a long tradition that has given prestigious journals in the quality of aesthetic and critical vision , many times these magazines have been the space where writers and artists who came were great track record. I think the editors who is to show contemporary literature, work in the shadow of these big magazines over the years and only we realize if we meet or not. In this sense, I do think that magazines that are independent "living space of Mexican literature" you mention, I think our job is to "find" new authors, the most interesting proposals that are emerging today, to converge in the political, social, economic and cultural by publication.
As it is so little recognized the work of the Editor, I would say that, personally, the recognition comes from the authors who accepted the invitation to publish and are grateful, and readers who are on the lookout for the magazine and come to give us feedback. The satisfaction is seeing the object, month after month, our mistakes and successes, and know that we can improve our work.

RMS: What is your perspective on the e books and internet? How do you think they affect your work as an editor?

VSF: not think much about those things. I think products like e books serve a market that is being created large industries to generate new consumer needs, they are concerned with generating economic wealth under the guise of making life easier. And if you think we shot only a 1200 copies of reprints, which are distributed from hand to hand, you realize we're not even in the same speech. Of course, such
products comply with a sensible function, such as communication or mobility of individuals without the need to curb their activities. But in this sense, there are two aspects to consider, one issue affects the reading and the other in the editorial work. With products like the e book is evident that through reading the changes, but the scholarly work is the same. Instead, the editorial work has a market defined by other characteristics and needs, in particular, to continue documenting the intellectual activity of generations over time, viewed the book as a cultural relic, regardless of supply and market demand.


RMS: Much has been speculated about the end of the paper. Do you think that the website was able to move to physical books and magazines?

VSF: No, I do not. I think the website is to distribute information on a massive scale, to facilitate communication between people. Instead, books and magazines used to give pleasure, a rare pleasure, indeed. Man is a creature of sense and will always have the need to smell the paper, feel it, when reading, and literature is that reading is the act of reflecting on the man himself, recognized in the various activities and situations that characterize as a human being. I think the book is the great man's project.

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independent publishers

Following a meeting convened by the FONCA magífica had the opportunity to meet with the editors of independent magazines had the support "Edmundo Valadés." Many issues were discussed at that meeting, among whom he spoke about the wild lands we travel at conception and bring to light a project of this nature. Literal
, over the next few days, will be talking with each of them to establish a dialogue and measure what they are thinking and doing today on issues that are supported not only by the energy and ideals of group that produces them. We started with the magazine
3D2 and Metropolis .

"The Mane" Vargas
Director of the magazine 3D2

What does editing in Mexico when the statistics do not report a high rate of reading in our country? 3D2

: Edit in Mexico, is a symbolic way of building knowledge. Creating inviting disseminating different content areas and literary and scientific streams.

Thus, the data that appears following the survey of the cultural customs in Mexico where he finds a lack of reading. One thing, that as publishers we are invited to work on it.

is said that independent publishers are the habitat of Mexican letters yet, the work of the editor is very little recognition. What do you attribute this disparity between the effort expended and little reward received?

3D2: image editor goes hand in hand to the office of the promoter. A visionary decision-making capacity, is disclosed and no. A profession, as such, lacks both social and academic recognition. Devoid of identity and respect, the editor becomes a creator, and as such, work and work, unfortunately with a minimum wage in the economy, gains in other forms of capital, cultural, symbolic or knowledge.

Is training in this regard is appropriate, set up and legitimize the field is a priority. Attempts exist, proposals are emerging. So much, but it will do something, step by step.

What is your perspective on the e books and internet? How do you think they affect your work as editor?

3D2: Fanzine From the work of 3D2 think not affect the work of the editor. Instead, they are other scenarios of connection between the editor and reader. The important thing is the ability to create and adapt to new platforms for the dissemination of content. Hence the digital space for more open public perspective possible.

has been much speculation about the final paper, printed product. Do you think that the website was able to move to physical books and magazines?

Evolution is relevant. We know of no examples to date where the paper is moved by the digital space. It may be, may not be. Both forms can coexist. Is it possible? For now, do not know. ***


Carlos Vicente Castro
Director of Metropolis magazine

What

means edit in Mexico when the statistics do not report a large readership in our country?

Metropolis: involves the challenge of finding ever more effective ways to promote reading.

is said that independent publishers are the habitat of Mexican literature, but also the work of the editor is very little recognition. What do you attribute this disparity between the effort expended and little reward received?

Metropolis: The biggest challenge facing the editor is the assessment of their work within their own environment. It is often recognized more who directly raise capital and not those that make up a project and carry it out.

What is your perspective on e-books and the Internet? How do you think affect your work as an editor?

Metropolis: U No good editor used to favor the new roads.

has been much speculation about the end of the paper. Do you think that the website was able to move to physical books and magazines?

Metropolis: Until now, electronic and physical means have been complementary: a lead to others. If the disappearing social need should be printed on paper give thanks for the good fortune of trees and adapt to new techniques.

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The best books of the decade as the team's Literal

In this new decade begins, some team members Literal we question what were the best books published between 2000 and 2010. The results appear below: Yvon Grenier


Fictions:
The Human Stain by Philip Roth (2001).
On Chesil Beach by Ian McEwan, (2007).
The gun man by Horacio Castellanos Moya , (2001).
The Feast of the Goat by Mario Vargas Llosa, (2002).
Les Bienveillantes by Jonathan Littell, (2006).

Essays: Poet
landscape: essays on the life of Octavio Paz
William Sheridan, (2004).
Opening Mexico, The Making of a Democracy by Julia Preston
and Samuel Dillon, (2004).
Postwar, A History of Europe since 1945 by Tony Judt , (2005).
's Locomotive History, Revolutions in the Making of the Modern World
by Martin Malia, (2005).

Biography:
Borges: A Life by Edwin Williamson , (2004).

Maarten Van Delden

Fiction:
Roberto Bolaño, 2666
Francisco Goldman, The Divine Husband
Mario Vargas Llosa, The Feast of the Goat
Heriberto Yepez, ABURTO
Jorge Volpi, The end of madness

Non-fiction:
Pascale Casanova, The World Republic
Letters of Mark Lilla, The Reckless Mind : Intellectuals and Politics
Richard Rodriguez, Brown: The Last Discovery of America
Guillermo Sheridan, Poet landscape: essays on the life of Octavio Pa z
James Wood , How Fiction Works

David Medina Portillo

Ten Mexican books of poetry last decade:

1. Poetry was you by Francisco Hinojosa
2. Holy sign of Pura Lopez Colome
3. Proa , Trujillo
July 4. Light matter of Malva Flores
5. Nadir , Elsa Cross
6. Death in the Rua Augusta of Tedi López Mills,
7. Erder , Gerardo Deniz
8. If the emperor laughs, Coral Bracho
9. History , David Huerta
10. Kubla Khan, Julian Herbert

various genres Ten books that seem exceptional:

1. On why was not the man of the decade , Luis Ignacio Helguera
2. The witness, John Villoro
3. Thus style of Joseph Brodsky
4. Barbarians by Alessandro Baricco
5. Errata, George Steiner
6. Something wrong , Tony Judt
7. Petals of Guadalupe Nettel
8. Shame , Santiago Roncagliolo
9. Hypothermia , Alvaro Enrigue
10. The five paradoxes of modernity , Antoine Compagnon

Tanya Huntington
The Divine Husband Anne Carson
Disgrace JM Coetzee
Waiting Ha Jin
The Shock Doctrine by Naomi Klein
The last meeting of Sándor Márai
Kafka on the Shore by Haruki Murakami
Out Stealing Horses Per Petterson
The party controlled by Antonio Jose Ponte
Persepolis by Marjane Satrapi
Parallax View by Slavoj Zizek


Rose Mary Salum

Essay:
Against fanaticism of Amos Oz Nobility of spirit
a forgotten idea Rob Riemen
Ten possible reasons for the sadness of the thought of George Steiner
Barbarians by Alessandro Baricco
The headless man Sergio González Rodríguez

Fiction:
Disquiet by Julia Leigh
Interpreter Lumpha of Maladies Lahiri
of Petals of Guadalupe Nettel
The garden of Mrs. Murakami Bellatin
Mario Mori Abundance Ponsowy

Poetry:
distant fire smoke Eduardo Chirinos

Malva Flores

Dear Rose:
I concluded that any attempt to list the brain blocked me immediately. Then I decided to send the names that came to my mind and I wrote about what I propose. I think that's the most genuine list. I do not know if they are the best and the missing are legion (and begin to bisisear names). Strictly did not appear last year, but are reminded that first, without meditating, ie: those who remain in me.

books of poetry:
That space, the garden , Coral Bracho
Death in the Rua Augusta of Tedi López Mills
Shade and appearance of Andrés Sánchez Robayna

Reissues:
History of David Huerta

If Someone Elopes Do You Still Have A Shower

have turned aside to fables and dreams

clean up the bad blood spilled

singular springs sky

as a high stone supplier

blind iridescent veils

cross our noble white birds appear in a desert

Indigo

everything is as before:

you drink a glass of mead

I bias the grass on the moon

Zodiac

is ongoing in a sky that no longer exists

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Salta

By Renée Sum Scott (University of North Florida)


Lucrecia Martel was born in the province of Salta in northwestern Argentina. It is important to mention this fact because there site its three feature films: The Swamp (2001), The Holy Girl (2005) and The Headless Woman (2008). Through female characters, who are the backbone of action movies, removed an idealized vision of society Salta, showing their conflicts and prejudices. Although his work is based on local experience is autobiographical and universal themes, which certainly has contributed to its success, Martel is the director best known of the "New Argentine Cinema."

The detailed indoor scenarios help to underline the sense of disorientation and confinement felt by the characters. In the neglected mansion in the swamp, Mecha, the matriarch of a family "well" come down and their children spend hours lying dead in bed napping. The alarm clock on the bedside table constantly Mecha 12:00 mark because no one bothers to set the time. Meanwhile at home Tali City, Mecha's cousin, is constantly trying to be heard above the noise from the bar next door. In The Holy Girl, teenager Amalia lives with his mother Helena and his uncle Eddy in the old hotel, The Spa, which belongs to the family. With its old-fashioned furniture and painting naked of its rooms, the hotel reflects the physical and moral lethargy in which the characters are talking nonsense with nothing to do with his life.

Vero in The headless woman, believed to have struck someone on the road. Throughout the film disconnected from reality shifts between various spaces. At home comes dressed in the shower, get to your office dentist and sit in the waiting room. Aunt Lala spends his days bedridden having apparitions and hearing voices from beyond. Said Josephine, the sister of Vero: "In this family end up losing it all" showing the process of decay that Martelson actors unable to stop. While in the Hollywood cinema phones are a sign of affluence, in Martel's films are associated with the failure of communication. Mecha refuses to talk on the phone with Mercedes, the former lover of her husband. Vero The Headless Woman does not use the phone in his bedroom. The maids usually make the calls showing how the players have lost touch with what happens outside their rooms and rely on indigenous women who for some contempt. In The Holy Girl the phone also promotes communication between the characters. Helena dislikes her ex husband call and when his brother Freddy finally dials the number of his former wife in Chile, when it answers hang up without speaking.

Martel is dedicated to breaking down the image of the selfless and sacrificial mother to be the eternal respect so important to Catholicism, especially in Hispanic countries. When the alcoholic in The Swamp Mecha falls and hurts chest with pieces of glass of a drink her teenage daughter Momi (still no drivers license) must take her to hospital. His son Joaquin has lost an eye catching, another example of maternal neglect. Tali counterpart is an active and enterprising is to keep the family order, a true mother of caring and comfort. However, the dramatic conclusion of the film his six year old son died after falling from a ladder while she is distracted. The conservative mother Josephine The Holy Girl finds his daughter in bed with his cousin, which again places the viewer in a kind of questioning motherhood. For relief of tinnitus increases and decreases as the voltage, Helena in The Holy Girl is locked in his bedroom with the shades down, literally and symbolically closing its connection to the world. Excited about the attention you give Dr. Jano, who is participating in the congress of otolaryngology cheese is made in The Spa, do not have time to care for her daughter Amalia. In The Headless Woman, Veronica is more concerned with their hair dyed the welfare of their daughters. When Aunt Lala says, "Good thing you did not have children", instead of correcting it remains silent, as if she doubted her own motherhood.

Another recurring theme of the films is the religion which occupies a central place in everyday society Salta. Lady In The marsh is present at the TV screen and in the mouths of women, because his figure has appeared on top of a tank of city water. In one of the last scenes of the film, Momi says: "I went to the Virgin Mary appeared. I saw nothing. "Indeed, we are facing an empty religiosity that leads the characters to any discussion about class and race attitudes. Mecha abusing their maids, which are collectively referred to as "these Indians" are accused of lazy and thieves but depends entirely on them. When Dr. Jano Bumble Amalia in The Holy Girl, the restless teenager finds his mission in the divine plan: save us from sin. Meanwhile her friend Josefina enjoy the groping with his cousin but he warns: "I do not want premarital sex." In The Headless Woman gives Vero clothes and check the mouth of the students, as if these actions were sufficient to satisfy the obligation to help others. When she passed in his car by marginalized communities in the city again the viewer is exposed to this conservative society where the wealthy whites and poor Indians interact constantly but never mix.