Carlos de Rokha: Dazzling and impotence 
Carlos de Rokha
Glare and impotence
Rokha Carlos is one of the children of the marriage of Paul and Winette poets of Rokha. Born in 1920 in the city of Valparaiso and Santiago died tragically in 1962, being the precursor of doom then followed by Carlos Díaz Loyola, his father, better known as Paul of Rokha, which ended his days delete themselves (although her sister Luko of Rokha discarded the theory of suicide, changing from a heart attack). In addition to the literature has grown paint (understandable because art was the occupation of their brother Luko and Joseph). Juan Guixé has called it "original, transforming life in a message, which then was uneven, full of twists and turns, looking more like a maze. Unfortunate that his death was premature, since he could have given more than we all admired, in this short time 1.
Added to this is what he said about Carlos Jorge Teillier of Rokha, "led a life totally bitter. A little too by his mortality. Carlos was not of this world. It was a mental patient but a visionary, he was far from reality. That reflects very well in his poetry is perhaps the best Chilean surrealist poetry, as I said Eduardo Anguita and as also said Teófilo Cid, who was the first victim of the Mandrake, or surrealism. Carlos de Rokha at age 15 wrote poems angelic. " Elizabeth Neira noted that it was "cursed spite of himself, children, perhaps because of the omnipresent shadow of his father" 2. Importantly, Elizabeth Neira commits a serious mistake to "publish" first "Pavane of the Cock and the Harlequin" (which stands at 1964) and then "Memorial and Keys" (which stands at 1967), which is completely backwards.
could not be pigeonholed in any literary trend, or more specifically in any "ism." His first book "prophetic song (or even" poetic ") to the first world (1944) delivers clear overtones of an author, very young at that point influenced by Surrealism, because he was flirting with Mandrake (Enrique Lihn called it "surreal in nature"), but what can be decoded in a baroque this first writing. Sanhueza Leonardo called it "Orpheus," a claim which is caused by folding may still be outdated in their work with Rosamel Valley. His second book "visible order" (1956) confirms and endorses the above, to deliver a text replete, ornate, full of words and pictures, with a language strong step forward. Is devoted to "Memorial and Keys" (1964) and "Pavane of the Cock and the Harlequin" (1967), texts that have galvanized not only his breed of poet, but voice, unmistakable quality. His death also gave rise to almost a reflex effect the qualification of a damned poet, in these cases the easiest, most strikingly so, despite the trite of the term. Within
editions of Charles of Rokha used to revise the work, are the following, all original, the years in which they were published, unless the release of "Pavane of the rooster and the harlequin" (1967) that the publisher is the University of Concepción, published in 2002. The edition of "Memorial and Keys" is what has been published by Editions of the Municipality of Santiago, 1964, following the award he received in the Floral Games. This edition includes a foreword by Enrique Lihn (pp. 5-13).
The critical reception in the type of criticisms that have compiled these have different origins. One source is the articles in the press. These reports are about many things concerning Carlos de Rokha, articles about of his poetry, articles on Chilean poetry, and especially critical items that have a high rate of regret regarding the tragic death of Charles of Rokha. An example is the criticism made in the Chilean El Mercurio Ignatius Valente3 critic, in which a critique on the poetry of Charles of Rokha, with special emphasis on the poet's death and the mourning of this event since truncating a literary career that lights had been very striking, namely the two books he published during his lifetime Charles Rokha, besides the two appeared posthumously.
The critical issues addressed by the collected are mostly descriptive and contextual, as the poet's death was a sort of "excuse" (sorry for that matter) to just make it known, but besides the death of De Rokha have emerged contextual items, such as Elizabeth Neira, has arisen out of the work of Leonardo Sanhueza poet in the collection and future edition of the Complete Works of Charles of Rokha, a task similar to that performed with Rosamel Valley. Or memorabilia, like the case of Francisco Véjar4 written.
also a source of criticism are those that appear in both introductions as well as books by other authors who have devoted pages to Charles of Rokha. Such is the case of Enrique Lihn, who has written the foreword to the first edition of "Memorial and Keys" and texts that have appeared in "The Circus in Flames 5. In addition to these writings, Lihn published in "The Dark Room" 6.
texts I work Carlos de Rokha be the majority, primarily because there are few, with a predilection in the last two volumes of the poet, "Memorial and Keys" and "Pavane of the rooster and the harlequin", his most famous and have attracted the interest of the criticism on the poetry of Charles Rokha. As to the critical corpus, we will work as contribute to the subject work, this is, the reception has been universally good work of Carlos de Rokha, and the kind of "collective groan truncated" that has emerged over the death of poet , and the great poetry that could not continue to be written, which would have catapulted as one of the great Chilean poets of the twentieth century, perfectly comparable to the figure of poets such as Enrique Lihn, Jorge Teillier, the Mandrake (Arenas, Gomez Correa, Cid) and even Paul himself of Rokha. This certainly not restricted to the corpus to a medium or specific strand (prefaces, articles, press reviews, criticism, etc..) but serves utilitarian purposes by the person who endorses these lines in order to fully comply with the above thematic purposes.
In the first group of texts found Charles of Rokha, are those of lesser extent than focusing mainly on the poet's death, "nothing was too early to foretell the outcome," said information, accounting for some classic journalistic services that now studying in schools of journalism, or are reported by conspicuous editors.
An example of this is the information published on September 30, 1962 in the publication "The breaking news"
Sudden death of poet Carlos de Rokha
suddenly died yesterday at his home in Santiago, the poet Charles Rokha, widely known for his work and linked to national intellectual circles. Nothing was too early to foretell the outcome of De Rokha, who at forty-two years was in full literary maturity.
The late son of Paul and Winette of Rokha, both great Chilean poets, from whom he inherited the sharp artistic discipline that characterized the laborious path of his poetry.
In 1955, under the generic title of "The visible order "brought together in one volume the seven books of his intellectual production, between 1934 and 1944. Worker silent, longing for publicity, only reappeared in 1961 by sending a group of poems by Gabriela Mistral Competition of the Municipality, for which he won the First Prize. This book will be published by the corporation and will be his posthumous work.
Charles's remains were veiled Rokha last night at the House of the Writer and this morning were moved from there to the General Cemetery at 11 am.
There are also texts that serve as an epitaph and a reminder of the labrum of the poet in life. This is attested by another press clipping, review of "Pavane of the rooster and the harlequin" next to the death of Charles of Rokha, if not in days or weeks ahead, death of the poet, but not too distant future years7:
(...)
Carlos de Rokha with its "endorsement of delirium" as his teacher asked what Rimbaud, with its rich language and a deep musicality achieved that miracle of returning the country lost many of his poems posthumous book now comment ("Pavane of the rooster and the harlequin").
"Because of the night are more beautiful islands" Carlos says Rokha and night haunted him, obscuring his reason sometimes visionary, he knew transmute into true poetry, pure beauty. But alongside these poems open space illuminated by the roosters. Carlos de Rokha has other (such as "De Profundis" and "Psalm in blue) where, with rare seriousness and maturity foresees his end approaching, and describes his crucifixion in life. There is a painful and hallucinatory world, but beauty is always offered with both hands, and rarely in our current poetry. For those who reach to meet Charles in his brief transit Rokha, this touching posthumous message also brings us the certainty that poetry can still be "a joy forever."
posthumous words of the same tenor appeared in the newspaper La Nación de Santiago, also on the occasion of the posthumous appearance of "Pavane of the rooster and the harlequin" in 1968:
"This book reveals Charles of Rokha as one of the most original and significant poets of our literature. It was tragic fate and his hallucinatory and visionary creation. A few weeks ago we reproduce his unforgettable poem "De Profundis." If a Chilean-like Rimbaud has gone a season- in the hell is Carlos de Rokha. If anyone heard of the "artificial paradises" of Baudelaire, was Carlos. If anyone was an angel unable to understand life and expressed in a language of formulas haunted, is this joker, is this cock-both are Carlos de Rokha. Poesía.8
Chilean critic's words at the time, Ignacio Valente, could not be absent when referring to the activity of Rokha Carlos poetic. Also at the onset of the "Pavane of the Cock and the Harlequin," Valente pours his critical view on the work of Carlos de Rokha:
"This book of little movement, written by a little known young poet-son of Paul of Rokha, already dead," I read with amazement some of the most promising poems ever written in Chile in recent years. Visionary poems of a boy who kept to death with a strange accent and a gift deluded child's creative imagination. Verses of a poet without evident on their loans and influences the way undisciplined, imperfect to be incorrect, uneven and immature, but contains in its coarseness a fit of imagination so pure, so turbulent and accurate, as in vain as would seek many artists of more elaborate expression. Reading it makes us wander about the poet might have been, if his dream would have been splendid time and the possibility of an adequate formal settling. (...)
This poem moves in circles of enchantment, in the pure magic of childhood. Seems not to have awakened the world of men, history, intellect. Given as a rite of the image, as a first innocence of fantasy as a safe freedom of creative imagination. His world, however, is not a paradise, is tinged with a tragic essence, knows the loneliness and anguish, and each step contains terrible. Child is a strange power that calls to images, like the power of a child, however, only longer lives in the heart of a tragic adult, "the host sleepless night I am when I enter my being visible" boy banished for ever, "solemn, vertical, banished like a drunken eagle on an island in flames" .9
Among the poets who most wrote about Carlos Enrique Lihn Rokha is counted. The author of "The tune of the poor areas", "Paris, irregular situation", "From Manhattan" and "The dark room" (where the poem "Elegy for Charles Rokha") drafted the foreword to the book "Memorial and keys." It highlights several aspects of the poet. The first is the condition of Rokha tireless writer, a condition "that merged the obstinacy of the ant and the grasshopper dangerous facility." 10 However, discarded Lihn make false praise of Rokha, but want to make "realistic tribute to the memory of a fellow traveler." Enrique Lihn talkative rescues a phrase that previously published in the Annals of the University of Chile: "The poetry of Charles is Rokha which would chronicle Earnings if, indeed, the whole of our literature. With its own characteristics and distinct from the work of all registered Rokha expressive formal concerns have contributed to the development of a small but brilliant literary tradition. "11 It highlights the expressive capacity of Rokha, unique, and a very unique power of assimilation, both features that have made De Rokha took a surreal and back, at least to some extent, "the only writer whose psyche was consistent the surreal world of certain values \u200b\u200b"12, which was endorsed by the present writer their physical and mental set "always on the edge of derangement" 13, said Lihn. In Rokha was a "surreal state of nature" which would have wasted the opportunity to be assigned to any one of the movement's flagship Chilean literature, the Mandrake.
Lihn, taking into account the abyss and dislocations which saw Rokha plunged, indicating the presence of a "poetic real devil." Rokha is possessed of a demonized, the possession of which he is the right of a "genuine verbal anger and a kind of common-infallible sense of the words" it is also noticed understanding of poetry as a state of clairvoyance rimbaudiana. Yet there are objections, especially to the first poetry of Charles of Rokha, that plethora of images until the cows come home, "sometimes stifles the poetry of Carlos low jungles of images." 14 Lihn identifies a possible need of creating these worlds Rokha overworked imagination, which introduces a subtle way "thinking that would give something like a standard remote overall sense of 'certain of his compositions'." 15 Finally, Enrique Lihn said that the identity of Carlos de Rokha be traced in his poems, reading, and what generates who reads. The psychological state has a nearly perfect with his poetry, his language and his own poetic ability.
contemporary and friend, Jorge Teillier also referred to the poetry of Carlos de Rokha, more specifically to his life: "He lived a completely bitter. A little too by his mortality. Carlos was not of this world. It was a mental patient but a visionary, he was far from reality. That reflects very well in his poetry is perhaps the best Chilean surrealist poetry, as I said Eduardo Anguita and as also said Teófilo Cid, who was the first victim of Mandrake, or surrealism. Carlos de Rokha at age 15 wrote poems angelic. "16 As did his brother, the poet Mahfud Massis: "Predestined rower in the art galleries who wrote or painted, in all circumstances, at any time of night or day, alone or in the midst of crowds, abstracted, almost absent. As the horror of the tiny obligations soul enslaved us, he, traveler unknown, was far in the world of emotions, images and words. "17 Eduardo Anguita also expressed his opinion about Carlos de Rokha, two years after the death of the poet, "lived immersed in a more transcendental, so that his verses were but the clearest result, phosphorescence closest to us, an ocean of visions, in which he lived and survived heroically. (It was one of those) artists who paid with their clairvoyance psychic balance which naturally was granted. "18
Teófilo Cid, co-De Rokha in Mandrake says about his poetry:
"the voice pure, almost Rokha diamond of Charles, was made only to interpret, as happened to Juan de Yepes, the Algerian doctor, only stellar matters. Depth in Surrealism brought excitement to our continent, Carlos de Rokha followed the precepts as beloved classics of Jean Arthur Rimbaud. As the French poet-child like him. Carlos, our poet, tawny flame of poetry to its logical conclusion, without fear of burning. Instead, he sought the fragrant burn of Apollo and let his brain on fire tawny voluptuous. Hence the impression of unreality that emanated from the individual and the violent real stream which in turn flowed from his poems. Strange and paradoxical condition of the poet.
Beyond the years, in August 1973 is a reference to the poetry of Carlos de Rokha, at that time already 11 years late:
"Perhaps much of the poetry of Carlos de Rokha circulating in a current of surrealistic tendencies. Past experiences poetry, poetry of rejection through simple and trite, the ease of cheating and lost. Carlos poetic elements were far from a religious attitude, which makes beds and themes, but was, however, the blood circulating in his words, and it was his spirit, that death does not let him live in all its true sense, that they had managed to rescue thanks an experience that life itself, so little left no madurar.19
Towards our years
closest in decades, the 90's, critics have followed Charles Rokha from memory, and not because of the appearance of books or of the success of the poet's own death. The memory of the poet, and become a mythical figure, gives the impression not many characters in the capital and provincial newspapers, as this case:
"His poetry was original, transforming life in a post that later was uneven, full of twists and turns, looking more like a maze. Unfortunate that his death was premature, he could have been much admired what everyone in this short
.20
Anything less would also publishes "the bookworm", just a note bio -literature:
"Born in Valparaiso in 1920, and committed suicide in Santiago, 1962, poet, painter and storyteller. Must have cost a lot of work, escape the influence of the Universal Cyclops of poetry that was his father Paul Rokha (...)" 21.
With
On the publication of the complete works of Charles of Rokha, the poet emerges and wins again in press lines, now with more depth, and in a wider forum of the newspaper El Mercurio, Santiago:
Natural State surreal
A complete works Rosamel del Valle, the poet now joins Leonardo Sanhueza recovery Rokha Charles, the eldest son of Paul of Rokha.
"A surreal in nature", as defined by Enrique Lihn, cursed spite of himself, maybe because infantile omnipresent shadow of his father. Charles, the eldest son of the tragic progeny of Rokha who took his life on at 42, is the author of a work singularly delusional, profuse in images, which is being collected for the first time in a project of complete works Leonardo Sanhueza.
The fascination Rokha Charles was born early readings Rokha Paul: "Everybody comes and Carlos. The shadow of the father is too strong. He called attention to discover a poet whose writing has nothing to do with so voluptuous a father, who apparently exercised a certain tyranny over their children and those around him. Even in the work of Mahfud Massis, which was Rokha Paul's son, are perceived thematic affinities. In contrast, Charles is a boy, writes of things minimal, lost paradise, the land that yearns, grandfather, "says Sanhueza.
marked by despotism of a magnetic beauty, the poetry of his father - with whom he had to live every day, individuation and the difference it overshadowed and sidelined him a dispersed activity. Pablo, the poet tremebundo, admitted one day before his friends what he did to his son was great that even with its all-pervading presence, could influence it. Poetic independence was at the cost of isolation that led early to take shape in the world with an unusual mismatch is a condition that notwithstanding the purity of his poetry.
"Carlos de Rokha never quite got over some irremediable malditez. He is not the poet amalditado, the guy who strives to be cursed. On the contrary, strives in vain all his life to escape from their condition. The tragedy is that it succeeds because it never completely dislocated in the world. Jorge Teillier, a close friend Rokha poet, whose poetic universes comes surprisingly, once said that Carlos paid with his life the condition of being a poet. The artist never came close to literary circles. Those who knew him were his friends: Enrique Lihn, and Teofilo Teillier Cid. With them there are crossings in the work, especially with Teillier with respect to a poetry of the village, the children, but Charles de Rokha tends more to surrealism in a natural way, "says the anthologist.
The complete works of Charles de Rokha include the only two books that life was able to publish. "First World Prophetic Song" (1943) and "visible order" (1955), the two posthumous "Pavane of the Cock and the Harlequin" (1964) and "Memorial and keys" (1967), but unpublished poems provided by Luko of Rokha, sister of the poet, who also illustrated the edition.
Sanhueza has been for over ten years mired with almost anthropological zeal to rescue the market forgotten poets and publishers, but not by the collective, that reminds you talk mythological:
"These books are not nearly anywhere, not even in bookstores. This is because in Chile the critical nuclear poets. Chilean poetry died in the great figures: Neruda, Mistral, Huidobro, Pablo de Rokha. There are many names circulating below and have been unjustly ignored for long. Carlos is the case of Rokha, Rosamel del Valle, Humberto Diaz Casanueva, Omar Caceres Jorge Caceres, Mahfud Massis and lots of other poets that are not even writing easier, "says Sanhueza.22
The publication of the previous article appeared in the joint publication of Sanhueza also recall advantage of figure of the poet. The same attempt Francisco Vejar, also in the newspaper El Mercurio, this time in the supplement "Book Review"
Angelic and demonic
Nearly forty years have passed since the death of this author whose poetry has been valuable forgotten. In his time, Teófilo Cid, and Jorge Eduardo Anguita Teillier expressed genuine admiration for his literary work.
Belonging to the family of the damned poets Chilean, Carlos de Rokha felt early Rimbaud's call to make himself visible through a systematic disorder of the senses. It was much admired by the French writer in 1954 to its centenary of his birth, as homage wrote in the journal Controversy, "Rimbaud the unknown" which outlines the revolutionary and iconoclastic impetus of poetry and life of the operator. According to testimony of his sister Luko, Carlos recite passages from memory Season in Hell. About his personality, said: "He was a poet in every one of their activities to eating a piece of bread was to him a poetic act. He was a angelic and demonic at the same time.
lived immersed in the reality and dream. Its existence was populated with visions that made him a bridge to other worlds. And at fifteen he wrote poems close to surrealism. It is no coincidence that it was so close to Mandrake group with whom to share many years of friendship. Enrique Lihn, in the preface to the posthumous book of Carlos de Rokha, Memorial and Keys (1964), says: "Many of the provocative, vociferous but careful and scholarly digressions Teófilo Cid or Braulio Arenas - in which combined black humor, appeals to Marx and Freud, the knowledge of certain currents exquisite ...- European literature only evoke ultimately, poetry, quaking, eager, alienated from Carlos, and figure provided the mental and physical edge.
possessed a talent for free association of images. In the poem "Return", he writes: "Because of the night are more beautiful the islands / The blue trees because so ordered by the Tues (...)". (De Cock Pavana and the harlequin, 1967), a work that won first prize in the literary game Gabriela Mistral, 1962.
I sing terrible
Her family always had a place of privilege. From teenager was incorporated into the Sunday gatherings at home. The visitors could see Vicente Huidobro, Ricardo Latcham, Teófilo Cid, Enrique Gómez-Correa, Braulio Arenas, Jorge Caceres, Boris Calderon, and other intellectuals of the time. In those years studying at the Liceo Valentin Letelier and his free time reading or painting. Luko of Rokha adolescence recalled his brother: "It was all the time reading and studying the classics. He learned French only, and finally translated and recited poems in that language. At thirteen he began to paint and at fourteen gave a presentation which was visited by writers and painters who considered him a real talent. It was absolutely self-taught. Rarely have I met a man with more culture than Carlos, who, having lived with a literary personality as overwhelming as my father and other very pure and special as my mother never felt influenced by them. "
At 24 he published his first book of poems, entitled "Canticle prophetic First World" (1944), where the outpouring of dreams in real life mixed with images of luminous imagery: "I sing so terrible, how terrible is more beautiful / that the diaphanous blind oh temporary memory / (...) what are my heroes, pray for those who cry over your grave! ". He was able to create your personal world, and not transferable. Son of poets, Paul and Winette of Rokha, showed early features of eccentricity: at age 11 was three days missing from his home. It is believed to have been kidnapped by a political vendetta. It was found after three days, hungry and almost naked. With colleagues from Liceo Valentin Letelier was to see the movie Kaspa the Lion Man. After seeing the film, decided to err on the world in search of adventure. They left the Cerro San Cristóbal, but when the night began to fall, his companions returned to their homes. However, Carlos did not dare to return, fearing the wrath of his father. In the posthumous autobiography Rokha Paul, on the other hand, reads: Carlos when he was seventeen, he went crazy. (...) One day he jumped off the second floor of the hospital. Fell on a pile of earth moved, what saved him die. She then explained that he thought he was jumping off the plank of a pool. He was an excellent swimmer, and possibly saw water where there was only grass. Jorge Teillier explains: Carlos was not of this world. It was a mental patient but a visionary, he was far from reality. That reflects very well in his poetry is perhaps the best Chilean surrealist poetry, as I said Eduardo Anguita.
wrote all the time. No matter where you'll find: parts of hotels, on trains, on the counter of a bar ... His handwriting was tiny and unique. Today there are many original unpublished poems remain in the hands of his family and who have not yet been compiled into a book. It is recalled that during his lifetime he published only two titles: first world prophetic canticle (1944) and the visible order (1956). In preparation I had at least seven books of poems, among which can be noted: Fall to coral (texts written between 1935 and 1940) and automatic hand (stories and experiences, 1941-1943). There are also poems that were published in several editions of the magazine crowed who directed his father. She participated in the drafting and subscription sales. He was one of the few jobs that had paid. In the December, 1939 find one of his poems titled If serving the whims, which says: "I seem painful and unreal / not without delicacy and that sweet / The hands of the devouring of flowers in the angels, their umbels, in the angel / not disclosed or blue enshrined / A custody of my eyelids / A dams my magic hands. "
Undoubtedly, some of these verses translate the feeling of his short life. Lagos Yolanda Garay, a poet and friend of those Rokha says: I met him in the fifties in coffee Iris. There were Altenor Guerrero, Hugo Goldsack, Armando Menedín, Teófilo Cid. Carlos came to Joseph Rokha, his brother painter. Were the famous gatherings of Iris. It was very pleasant and had a special irony. Was something beyond himself. A hallmark of true poets.
died prematurely on 29 September 1962, leaving behind a work that has not been assessed in real envergadura.23.
In the provinces, there is a text of Ramon Riquelme Carlos reminiscent of Rokha more comprehensive than simple biographical note of a few lines, following the line of Mercury capital items:
Notes on Chilean poetry
Chilean poetry of all time: 1922-2002, has many aesthetic registers low, medium and high lyrical sense. Therefore, the understanding of their sense of language allows us to know the difficulty in the daily exercise of the word.
Rokha Charles (1920-1962), with two texts in its short existence, "Canto prophetic first world" and "visible order" there in the texts examined here aggressive language, but deep and warm affection "De Profundis." Predictor plays with words to introduce the labyrinths of a word whose final meaning is the description of people and things with an aesthetic sense of the tender and the simple ("Interior"). The poetry of Charles of Rokha has many readings in epic intonation means ("Coronation of the sea" and "Emergence of the child of smoke"). Had his word baroque architecture whose timbres and rhythms are showing us the sensuality of his office that uses the language to say something ("Pavane of the rooster and the harlequin") .24
The critical reception of the work of Carlos de Rokha shows matches. The first is shown as a surreal, beyond being attached or not to formally Mandrake. Surrealism is identified in the texts of De Rokha, and also in his personality, "always on the edge of derangement," as said Enrique Lihn, in addition to notice a clear source of the poetry of Carlos de Rokha: your imagination that seems to flow like a river without end. This last factor stands out as one of the qualities of the poet.
But one factor that unites the critics, noted in most of the information reviewed was the grief for the death of the poet, not by death itself but have occurred this in a tragic and a very promising career in poetry. During his lifetime Charles Rokha only published two texts, "Canto prophetic first world" and "visible order", after the poet's death came the other two remaining texts for a total bibliography of De Rokha, Memorial and keys "and" Pavane of the Cock and the Harlequin. " These last two volumes appeared posthumously, and surpass the previous ones, especially the last book, "Pavane." Appeared in 1968, having won the first prize in the Floral Games, the reception of this book was mixed with amazement and sorrow (this is particularly reflected in the findings of Ignacio Valente).
If the information before the appearance of the text were centered primarily on how terrible the death of the poet (flirting with the police), the articles "post Pavana" have a different tone in them you can read the frustration, the desire truncated to see what would have happened if Charles had not been removed Rokha life on that fateful day in September 1962. The impact and impression made by the appearance of the works of Charles post mortem Rokha, especially the "Pavana Rooster and Harlequin" is the cause of this feeling, or this view of the exegetes of De Rokha. Whether the new edition of the texts of Carlos de Rokha (As the case of Elizabeth Neira), or by simply wish to speak of a poet postponed (Vejar), shared these sentiments.
Some sentences exemplify this. "(...) The blood circulating in his words, and it was his spirit, that death does not let him live in all its real sense, those who had managed to rescue the mercy of his own life experience, so little, no allowed to grow "(Victor Castro).
"This low-circulation book, written by a little known young poet-son of Paul of Rokha, already dead, "I read with amazement some of the most promising poems ever written in Chile in recent years we (...) Reading does ramble on about the poet might have been, if his dream would have been splendid time and the possibility of settling adequate formal "(Ignacio Valente).
"His poetry was original, transforming life in a post that later became uneven, full of twists and turns, looking more like a maze. Unfortunate that his death was premature, he could have been much more that they all admired, in his short life "(John Guixé Cañizares).
"Nearly forty years have passed since the death of the author whose poetry has been valuable in oblivion (...) died prematurely on 29 September 1962, leaving behind a work still has not been assessed in its real significance "(Francisco Vejar).
Glare and impotence, two words that can characterize the critical reception to the work of Carlos de Rokha. Dazzled by the revelation of a work unique poetic, unique and original sentence, because the farmer, the creator of that work outstanding had been dazzling, still more, forever.
1 John Guixé Cañizares. "Chilean poets of our century." Coastal No. 5, June 1968.
2 Elizabeth Neira. "Surreal in nature." The Mercury, Sunday December 19, 2000. Ignacio Valente
3. 1968. "Carlos de Rokha: Pavana posthumously." El Mercurio, May 19, 1968. Francisco Vejar
4. "Carlos de Rokha (1920-1962): angelic and demonic." The Mercury, Saturday July 8, 2000.
5 Enrique Lihn. "Carlos de Rokha." In, The Circus in Flames, Santiago de Chile, LOM Ediciones, pp. 247-253. Enrique Lihn
6. "Carlos de Rokha Elegy." In the dark room. Madrid, Editorial LAR, 1984, pp. 83-84. Plan Review
7. May 31, 1968, Santiago.
8 Diario La Nacion May 26, 1968. Santiago. Ignacio Valente
9. "Carlos de Rokha: Pavana posthumously." El Mercurio, May 19, 1968. Also published in Chilean and Latin American poetry today. Ed Nascimento, Santiago, 1975.
10 Enrique Lihn. Preface to "Memorial and keys."
11 Ibid.
12 Ibid.
13 Ibid.
14 Ibid.
15 Ibid. Jorge Teillier
16. "Mirages and realities of contemporary Chilean poetry." In Plan No. 27, July 31, 1968
17 Mahfud Massis. Farewell to Charles Rokha. " El Mercurio, October 13, 1962. Eduardo Anguita
18. "Carlos de Rokha, poet paradise." El Mercurio, December 5, 1964.
19 Victor Castro. In West Magazine, No. 249. August 1973. 20 John Guixé
Cañizares. "Chilean poets of our century." Coastal No. 5, June 1968. Republished in "The provincial leader," San Antonio, April 24, 1990.
21 daily Aysen Coyhaique, July 28, 1990.
22 Elizabeth Neira. "Surreal in nature." The Mercury, Sunday December 19, 2000. Francisco Vejar
23. "Carlos de Rokha (1920-1962): angelic and demonic." The Mercury, Saturday July 8, 2000. 24
Ramon Riquelme. "Notes on Chilean poetry." The gallery in Los Angeles, October 26, 2002.
