Raul Heraud and the author of this note "I feel the need to write about issues that humanize and dehumanize man ... not only from a catastrophic vision, but witnessing the chaos and alienation that we encounter daily in the street ... on these sorrows on those fears with which we live each of us. "
By César Pineda Quilca
To "Cantuta Blues"
Raúl what age you start to write, hard?
- do not remember when I began to write extensively, but I think before 18 years writing stories, poems, stories, songs. It was a time of discovery, of experience that began to mark my life. At that time I traveled to Brazil, I lived there about a year, the bossa-nova was my first experience, my first intercourse with poetry, Vinicius de Moraes, Drummond de Andrade influenced me in the eighties, of course, before Vallejo did, Scorza, Machado, Salinas and the French.
A feature of your poetry is the subject of death Why write from that perspective?
- I remember as a child I had a direct experience with death, that marked my childhood world, human frailty met long before other people, that made my mind that from that time saw death walking on the same side with me, then the subject of death in my teens began as a kind of claim to life, for its transience, its azarocidad, with the passage of time the subject found other fronts in philosophy, religion, history, psychology, etc.
The theme of death is something that, in particular, the West has not been resolved in a conciliatory, myself I have not been resolved, so I try to leave traces, clues, riddles as a form of liberation, acceptance final Robles Godoy would say: "trying to make friends with my own death."
Noto in your poetry the presence of a strong philosophical. For example, there is a constant exploration to life, also a heavy traffic of walking more and more to the multitude of our pain How do you live, exaggerated, with so many ghosts inside?
- I've always been a spiritual, not religious, I have tried for many years of my life to find answers to my questions, however, feel that with the passing of the years I have more questions than answers, is something I has cost assimilate, understand, accept, I talk about this in my writing, not only what happens to me as a human being, but also what happens to understand ordinary people, I've seen a psychologist, is there, all that pain sometimes asleep, but when awake is very difficult handle.
long time ago, studied at the University Inca Garcilaso de la Vega What memories do you have it? What literary groups existed at the time and who promoted the cultural scene at the time?
- I studied in the psychology department in the 90's, there was little cultural scene, some colleagues and I created a poetry workshop where we great, were conversations and lectures we did when we finished the classes, we took a little magazine, did an occasional public appearance but was short, so it was that I met other poets garcilasinos from other schools, they had graduated, but were interested our workshop. Ita Jorge Gomez was one of the poets who came close to our supporting and assisting each time I invited them.
You're a psychologist, is not it what way psychology has helped you create your poems? Is there any correspondence between your profession and poetic creation?
- Psychology is an art as poetry, the word is its main tool, the discovery of men linked to this field and Pearls, Freud, Rogers, Ellis, Fromm, among others, contributed greatly to build my philosophy humanizing to watch from inside the person I believe that this measure has become more rich my conception of life and has nurtured me tremendously poetic universe.
Eduardo Gonzalez Viana referring to two of your earlier poems "" Made of Clay "and" Response to three or four "claims that you are a poet stuck in the storm What do you think about it?
- I feel the need to write about humanizing and dehumanizing aspects man, psychosocial violence we are immersed daily war human beings in their daily struggle, not only from a catastrophic vision, but witnessing the chaos and alienation that we encounter daily in the street, need to go to a mental hospital to find people who carry their ghosts behind him, I write about these sorrows, fears about those with whom we live each one of us.
few years ago, living in Spain for reasons of study. I have understood that the magazine "Vulture" brought out an edition with full number of your poetry How did this post? How much difference in publishing a book here and there?
- I was a few years studying at the University of Alicante, by coincidences of life came to me one of those literary journals that are published there with a circulation of 25 thousand copies, I was struck by the fact that distributed free in universities, bars, cultural centers, including cities such as Valencia, Murcia, Barcelona. It seemed a good opportunity to get to the English reader, so I contacted them and had a well publicized.
find a publisher in Spain on every corner, there are readers for all tastes, it reads a lot, but here, that's not a revelation, the simple fact of publishing the "Vulture" I went to people in these places, I have received letters from people who had read my poems in a bar in Alicante or university in Valencia, that is tremendous.
How did "The Art of Destruction"? What were the leitmotiv of this collection? And how much destruction there is in that world (in) man you describe in your poetry out?
- "The Art of Destruction" was written at a stage in my life where many things happened hard, was wrong economically, did not work, I entered a state of total despair, I think I turned dipsomaniac, hahaha, I literally self-destructed, the only refuge was poetry.
The poet Paolo Astorga in a review that makes your book "EADLD" holds your poems in question "blows us from his first verses to a hell with no idea of \u200b\u200breturn", while the literary historian and poet Peruvian César Toro Montalvo says that you are "a poet Goldsmith dehumanization of man, Sartre and a defender of life" How much of a find in all this?
- I'm a lover Sartre and the philosophy of Krishnamurti and from Shakespearean Hamlet, nauseating as Leopoldo María Panero, do not believe in humanity, but hopeful as Linyuan Tang, believe in God, but not in the Catholic church, from mass of contradictions that has been built not only my poetry; rather my life.
Last year you went to the Poetry Festival in Havana with the participation of many poets of the world so nice What was that experience and what other Peruvian writers were there, sharing his "ars poetic"?
- Attend an international poetry festival is always a magical experience, in this case was unique experience in Cuba, the audience is different, it involves a lot with the poet, is very sensitive, as well as the Cuban people is very amical, completely surrendered, I made many friends there, not only poets, but also students, musicians, finally, was I believe the best international experience I've had, of Peruvians who attended were Cesitar Toro Montalvo, Winston Orrillo. With them I shared some reading tables. It was for me, other than an honor, an unforgettable experience.
I will not be wrong, but how much is autobiographical in your poetry?
- recently talked on this topic, I'm not an autobiographical writer, some of my poems have a personal burden, intimate, but not all my work, for example, my new poetry book "Theatre of Cruelty" is dedicated to patients and friends, written by and for them.
What does it mean for you, being a poet in Peru?
- To me being a poet in addition to being in Peru, I think it involves many things, it is very difficult when you do not find an audience avid reader who cares not for your work, but by the poetic work in general, we live in a society where poetry does not take place, educators may have a lot of blame in this, especially politicians, I feel that given the important social and human that is to say poetic, his word is a weapon of change, however, every day we read less poetry, less poetry is purchased.
What writers have most influenced your creation? Do you feel any debtor (s) in particular?
- Undoubtedly, many poets, Cesar Vallejo was unequivocally the major influence, especially the Vallejo of "Human Poems", Manuel Scorza, Eielson, Ojeda, Verástegui are some of the poets that I admire very much and also influenced my creation of the damned foreigners Rimbaud, Baudelaire, the clarity of Eliseo Diego, and the teacher Antonio Machado.
Me am indebted to many poets who have been with me in the beginning, Ita Jorge Gomez, Miguel Angel Guzman, Antonio Sarmiento, César Toro Montalvo, Winston Orrillo. I appreciate the friendship and support of the above.
How did the course of the current Peruvian literature and authors from the new seduce you a little more than usual?
- I believe that poetry is alive today, young people are writing and publishing magazines and platelets as ever, I know groups doing interesting things in universities in Lima and provinces, however, I feel that poetry has a large reading public. Enrique Verástegui said recently that While politicians do not understand the poetry that is important and necessary for the people's poetry is doomed to become sectarian, if it already is not.
Of youth, no doubt, Paolo Astorga has shown great maturity in his work as a writer, his subject matter is current and revealing that a large force full of poetry.
What do you think of criticism? Do you get along? Do you really think that it is fulfilling its role or duty?
- I really do not think there is a literary critical work in Peru, as nobody takes the time to read today's poets here and critique at the level it deserves each job. This past year I have witnessed a great development of young poets and some not so young, however, did not find any media for anything resembling even a comment, just a note of three lines if you're lucky announcing a presentation period.
the extent that the powerful will remove pages and what Farandulera headlines, sensationalism, what great news and inconsequential as they realize that poetry is necessary because it integrates, shows and says, there will be public, readers, more publishers that are committed to poetry and more poets course. You carry
several years in this tough job of being a writer What is it that your books are not part of the exquisite Peruvian dish of criticism, knowing that you have been awarded in Argentina with the award "Latin American Brotherhood? Do you feel that somehow, you've been relegated, no or underrated?
- I feel that there are no spaces at all alike, however we know this works on one of the sport of Peruvian society, cronyism, I invite you and you invite me, I speak well of you and you do the same, that is the philosophy of many who are involved in this, however, I do not write for critics or media.
questions that make millions of readers and that you necessarily have to respond in a meeting, is as follows, knowing that they are both poets and family while Javier Heraud turns out to be a stigma to overcome who? Do you share you with that assessment?
- No way, I think the significance of Javier is unique because he saw a unique moment in the history of our country. I do not consider it a stigma, I respect his work. Although I assure you it's a little uncomfortable having to answer the question if I am the nephew of Javier, the I must have responded in my life approximately 2 million times.
What other literary projects have, quite apart from your poems? Tell us.
- now I'm working with musician Carlos Alberto Cardenas staging of a work-sharing based on my poetry book "Theatre of Cruelty", which includes video poems and music composition by Carlos Alberto of my texts so using special items such as beat boxing and electronic music, try this to be presented on my return from Havana.
now speaks a little about your latest collection of poems "Theatre of Cruelty" which is in press. First Why this title?, Then what will publishing?
- It is an allegory about the human condition, based on which man lives his humanity in a huge theater that is life and that all human beings are universal characters in this staging. The title is in honor of the master Antonin Artaud, and out AFA editors "which is a publishing company that focuses on Peruvian poetry.
Why and for whom you write?
- I write because it is essential and necessary to do so, write for myself first and foremost. Logically I know that there is a readership that might like your work, however, I write without thinking about pleasing or displeasing to the reader.
What books are you reading lately?
- I just read "The Golden Fish" on Le Clezio, now I'm reading a play by Enrique Verástegui entitled "The Exorcism of Bellmer" which appeared in the ninth issue of the Journal Literature Hispanic Toro Montalvo.
Raúl what age you start to write, hard?
- do not remember when I began to write extensively, but I think before 18 years writing stories, poems, stories, songs. It was a time of discovery, of experience that began to mark my life. At that time I traveled to Brazil, I lived there about a year, the bossa-nova was my first experience, my first intercourse with poetry, Vinicius de Moraes, Drummond de Andrade influenced me in the eighties, of course, before Vallejo did, Scorza, Machado, Salinas and the French.
A feature of your poetry is the subject of death Why write from that perspective?
- I remember as a child I had a direct experience with death, that marked my childhood world, human frailty met long before other people, that made my mind that from that time saw death walking on the same side with me, then the subject of death in my teens began as a kind of claim to life, for its transience, its azarocidad, with the passage of time the subject found other fronts in philosophy, religion, history, psychology, etc.
The theme of death is something that, in particular, the West has not been resolved in a conciliatory, myself I have not been resolved, so I try to leave traces, clues, riddles as a form of liberation, acceptance final Robles Godoy would say: "trying to make friends with my own death."
Noto in your poetry the presence of a strong philosophical. For example, there is a constant exploration to life, also a heavy traffic of walking more and more to the multitude of our pain How do you live, exaggerated, with so many ghosts inside?
- I've always been a spiritual, not religious, I have tried for many years of my life to find answers to my questions, however, feel that with the passing of the years I have more questions than answers, is something I has cost assimilate, understand, accept, I talk about this in my writing, not only what happens to me as a human being, but also what happens to understand ordinary people, I've seen a psychologist, is there, all that pain sometimes asleep, but when awake is very difficult handle.
long time ago, studied at the University Inca Garcilaso de la Vega What memories do you have it? What literary groups existed at the time and who promoted the cultural scene at the time?
- I studied in the psychology department in the 90's, there was little cultural scene, some colleagues and I created a poetry workshop where we great, were conversations and lectures we did when we finished the classes, we took a little magazine, did an occasional public appearance but was short, so it was that I met other poets garcilasinos from other schools, they had graduated, but were interested our workshop. Ita Jorge Gomez was one of the poets who came close to our supporting and assisting each time I invited them.
You're a psychologist, is not it what way psychology has helped you create your poems? Is there any correspondence between your profession and poetic creation?
- Psychology is an art as poetry, the word is its main tool, the discovery of men linked to this field and Pearls, Freud, Rogers, Ellis, Fromm, among others, contributed greatly to build my philosophy humanizing to watch from inside the person I believe that this measure has become more rich my conception of life and has nurtured me tremendously poetic universe.
Eduardo Gonzalez Viana referring to two of your earlier poems "" Made of Clay "and" Response to three or four "claims that you are a poet stuck in the storm What do you think about it?
- I feel the need to write about humanizing and dehumanizing aspects man, psychosocial violence we are immersed daily war human beings in their daily struggle, not only from a catastrophic vision, but witnessing the chaos and alienation that we encounter daily in the street, need to go to a mental hospital to find people who carry their ghosts behind him, I write about these sorrows, fears about those with whom we live each one of us.
few years ago, living in Spain for reasons of study. I have understood that the magazine "Vulture" brought out an edition with full number of your poetry How did this post? How much difference in publishing a book here and there?
- I was a few years studying at the University of Alicante, by coincidences of life came to me one of those literary journals that are published there with a circulation of 25 thousand copies, I was struck by the fact that distributed free in universities, bars, cultural centers, including cities such as Valencia, Murcia, Barcelona. It seemed a good opportunity to get to the English reader, so I contacted them and had a well publicized.
find a publisher in Spain on every corner, there are readers for all tastes, it reads a lot, but here, that's not a revelation, the simple fact of publishing the "Vulture" I went to people in these places, I have received letters from people who had read my poems in a bar in Alicante or university in Valencia, that is tremendous.
How did "The Art of Destruction"? What were the leitmotiv of this collection? And how much destruction there is in that world (in) man you describe in your poetry out?
- "The Art of Destruction" was written at a stage in my life where many things happened hard, was wrong economically, did not work, I entered a state of total despair, I think I turned dipsomaniac, hahaha, I literally self-destructed, the only refuge was poetry.
The poet Paolo Astorga in a review that makes your book "EADLD" holds your poems in question "blows us from his first verses to a hell with no idea of \u200b\u200breturn", while the literary historian and poet Peruvian César Toro Montalvo says that you are "a poet Goldsmith dehumanization of man, Sartre and a defender of life" How much of a find in all this?
- I'm a lover Sartre and the philosophy of Krishnamurti and from Shakespearean Hamlet, nauseating as Leopoldo María Panero, do not believe in humanity, but hopeful as Linyuan Tang, believe in God, but not in the Catholic church, from mass of contradictions that has been built not only my poetry; rather my life.
Last year you went to the Poetry Festival in Havana with the participation of many poets of the world so nice What was that experience and what other Peruvian writers were there, sharing his "ars poetic"?
- Attend an international poetry festival is always a magical experience, in this case was unique experience in Cuba, the audience is different, it involves a lot with the poet, is very sensitive, as well as the Cuban people is very amical, completely surrendered, I made many friends there, not only poets, but also students, musicians, finally, was I believe the best international experience I've had, of Peruvians who attended were Cesitar Toro Montalvo, Winston Orrillo. With them I shared some reading tables. It was for me, other than an honor, an unforgettable experience.
I will not be wrong, but how much is autobiographical in your poetry?
- recently talked on this topic, I'm not an autobiographical writer, some of my poems have a personal burden, intimate, but not all my work, for example, my new poetry book "Theatre of Cruelty" is dedicated to patients and friends, written by and for them.
What does it mean for you, being a poet in Peru?
- To me being a poet in addition to being in Peru, I think it involves many things, it is very difficult when you do not find an audience avid reader who cares not for your work, but by the poetic work in general, we live in a society where poetry does not take place, educators may have a lot of blame in this, especially politicians, I feel that given the important social and human that is to say poetic, his word is a weapon of change, however, every day we read less poetry, less poetry is purchased.
What writers have most influenced your creation? Do you feel any debtor (s) in particular?
- Undoubtedly, many poets, Cesar Vallejo was unequivocally the major influence, especially the Vallejo of "Human Poems", Manuel Scorza, Eielson, Ojeda, Verástegui are some of the poets that I admire very much and also influenced my creation of the damned foreigners Rimbaud, Baudelaire, the clarity of Eliseo Diego, and the teacher Antonio Machado.
Me am indebted to many poets who have been with me in the beginning, Ita Jorge Gomez, Miguel Angel Guzman, Antonio Sarmiento, César Toro Montalvo, Winston Orrillo. I appreciate the friendship and support of the above.
How did the course of the current Peruvian literature and authors from the new seduce you a little more than usual?
- I believe that poetry is alive today, young people are writing and publishing magazines and platelets as ever, I know groups doing interesting things in universities in Lima and provinces, however, I feel that poetry has a large reading public. Enrique Verástegui said recently that While politicians do not understand the poetry that is important and necessary for the people's poetry is doomed to become sectarian, if it already is not.
Of youth, no doubt, Paolo Astorga has shown great maturity in his work as a writer, his subject matter is current and revealing that a large force full of poetry.
What do you think of criticism? Do you get along? Do you really think that it is fulfilling its role or duty?
- I really do not think there is a literary critical work in Peru, as nobody takes the time to read today's poets here and critique at the level it deserves each job. This past year I have witnessed a great development of young poets and some not so young, however, did not find any media for anything resembling even a comment, just a note of three lines if you're lucky announcing a presentation period.
the extent that the powerful will remove pages and what Farandulera headlines, sensationalism, what great news and inconsequential as they realize that poetry is necessary because it integrates, shows and says, there will be public, readers, more publishers that are committed to poetry and more poets course. You carry
several years in this tough job of being a writer What is it that your books are not part of the exquisite Peruvian dish of criticism, knowing that you have been awarded in Argentina with the award "Latin American Brotherhood? Do you feel that somehow, you've been relegated, no or underrated?
- I feel that there are no spaces at all alike, however we know this works on one of the sport of Peruvian society, cronyism, I invite you and you invite me, I speak well of you and you do the same, that is the philosophy of many who are involved in this, however, I do not write for critics or media.
questions that make millions of readers and that you necessarily have to respond in a meeting, is as follows, knowing that they are both poets and family while Javier Heraud turns out to be a stigma to overcome who? Do you share you with that assessment?
- No way, I think the significance of Javier is unique because he saw a unique moment in the history of our country. I do not consider it a stigma, I respect his work. Although I assure you it's a little uncomfortable having to answer the question if I am the nephew of Javier, the I must have responded in my life approximately 2 million times.
What other literary projects have, quite apart from your poems? Tell us.
- now I'm working with musician Carlos Alberto Cardenas staging of a work-sharing based on my poetry book "Theatre of Cruelty", which includes video poems and music composition by Carlos Alberto of my texts so using special items such as beat boxing and electronic music, try this to be presented on my return from Havana.
now speaks a little about your latest collection of poems "Theatre of Cruelty" which is in press. First Why this title?, Then what will publishing?
- It is an allegory about the human condition, based on which man lives his humanity in a huge theater that is life and that all human beings are universal characters in this staging. The title is in honor of the master Antonin Artaud, and out AFA editors "which is a publishing company that focuses on Peruvian poetry.
Why and for whom you write?
- I write because it is essential and necessary to do so, write for myself first and foremost. Logically I know that there is a readership that might like your work, however, I write without thinking about pleasing or displeasing to the reader.
What books are you reading lately?
- I just read "The Golden Fish" on Le Clezio, now I'm reading a play by Enrique Verástegui entitled "The Exorcism of Bellmer" which appeared in the ninth issue of the Journal Literature Hispanic Toro Montalvo.
What comment you generate literary blogs? Do they meet any role?
The literary blogs fulfill the function of spreading primarily to new writers and cultural moves that are happening right now in any place on earth, are important as the arrival and spread that meet to promote and encourage reading and interest in literature as a living entity and active.
And to conclude this interview, two more questions and go.
What advice would you give to the kids who dive into the beautiful world of poetry and writing?
- What if we are going to take a professional look for other activity for profit, because everything is love.
What is the most precious thing that gave you poetry?
- definitely friends, manuscripts, books, poems and poets I've met and read with joy and admiration, the lessons that I have left each one of those Pandora's boxes and of course the possibility to travel and enjoy places and wonderful people in the world.
Many thanks.
Tie - Vitarte, February 11, 2009
* This interview took place days before the poet Raúl Heraud trip to Cuba to present his poetry book "Theatre of Cruelty" in the IDF.
Source:
http://nidodepalabras.blogspot.com/
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