car is a WORK OF ART much more perfect than an armchair from the epoch of Louis XV.
MARTIN FIERRO sees the architectonic merit in an Innovation trunk, sees a lesson of synthesis in a Marconigram , sees mental organization in a rotary printing press, without denying himself the amenity—found in most homes—of a photo album, turning the leaves from time to time to take a trip into the past... or to laugh at his old collar and cravat.
MARTIN FIERRO believes in the importance of the intellectual contribution of America, heretofore fettered by an unsnipped umbilical cord. Yet while we emphasize and popularize, besides other intellectual manifestations, the independence movement initiated in our idiom by Rubén Darío, it doesn’t mean that we have to renounce, much less pretend not to know, that every morning we brush with Swedish toothpaste, wash with English soap and dry off with French towels.
MARTIN FIERRO has faith in our phonetics, our vision, our manners, our hearing, our capacity for digestion and assimilation.
MARTIN FIERRO , the artist, rubs his eyes continually in order to brush away the twin cobwebs of habit and routine stubbornly clinging to their corners. He surrenders to each new lover a new virginity, and let the excesses of today be distinct and apart from the excesses of yesterday and tomorrow! For him this is the true saintliness of the creator! There are not many saints! MARTIN FIERRO , the critic, knows that a locomotive is not comparable to an apple, and the fact that everyone compares locomotives with apples and some opt for the locomotive, and others for the apple, confirms for him the suspicion that there are many more dimwits than is commonly believed. The dimwit is the one who exclaims “Wow!” and believes he’s said all there is to say. The dimwit is the one who needs to ignite himself with glittery things and is not satisfied unless the glitter rubs off on him. The dimwit is the one who has flattened hands like the pans of a scale and who judges everything by its weight. There are plenty of dimwits!
MARTIN FIERRO values only the dimwits and the bright wits who are truly dimwitted or truly bright and who don’t try in the least to switch sides.
Do you sympathize with MARTIN FIERRO ?
Then collaborate with MARTIN FIERRO !
Subscribe today to MARTIN FIERRO !
OLIVERIO GIRONDO BIBLIOGRAPHY
[1] Veinte poemas para ser leídos en el tranvía (Paris: Coulouma & Buenos Aires: H. Barthélemy, 1922), illustrated by the author, no page numbers. Republished 1925, 1966.
[2] Calcomanías (Madrid: Editorial Calpe, 1925), no page numbers. Republished 1966 with [1] & [3].
[3] Espantapájaros (Al alcance de todos) (Buenos Aires: Editorial Proa, 1932), cover painting by José Bonomi, no page numbers. Republished 1966 with [1] & [2].
[4] Interlunio (Buenos Aires: Editorial Sur, 1937), no page numbers.
[5] Persuasión de los días (Buenos Aires: Editorial Losada, 1942), 185 pages.
[6] Campo nuestro (Buenos Aires: Editorial Sudamericana, 1946), 46 pp.
[7] En la masmédula (Buenos Aires: Editorial Losada, 1954), 56 pp. Republished 1956, 1963.
[8] Arthur Rimbaud, Una temporada en el infierno (Buenos Aires: Compañia General Fabril Editora, 1959), translated by Oliverio Girondo & Enrique Molina, 77 pp.
[9] Obras completas (Buenos Aires: Editorial Losada, 1968), ed. & with an introduction by Enrique Molina, 487 pp. Contains [1] - [7], plus “Membretes” and the article “Pintura moderna.”
[10] Jorge Schwartz, ed., Homenaje a Girondo (Buenos Aires: Ediciones Corregidor, 1987), 347 pp. Contains some previously unpublished pieces and numerous tributes and miscellanea, including “Manifiesto de Martín Fierro.”
[11] Obra completa (Madrid: Galaxia Gutenberg, 1999), coordinated by Raúl Antelo, with textological, critical and memoiric essays, xc, 798 pp. A beautiful edition containing all the above texts, save the manifesto and correspondence.
[12]
MARTIN FIERRO sees the architectonic merit in an Innovation trunk, sees a lesson of synthesis in a Marconigram , sees mental organization in a rotary printing press, without denying himself the amenity—found in most homes—of a photo album, turning the leaves from time to time to take a trip into the past... or to laugh at his old collar and cravat.
MARTIN FIERRO believes in the importance of the intellectual contribution of America, heretofore fettered by an unsnipped umbilical cord. Yet while we emphasize and popularize, besides other intellectual manifestations, the independence movement initiated in our idiom by Rubén Darío, it doesn’t mean that we have to renounce, much less pretend not to know, that every morning we brush with Swedish toothpaste, wash with English soap and dry off with French towels.
MARTIN FIERRO has faith in our phonetics, our vision, our manners, our hearing, our capacity for digestion and assimilation.
MARTIN FIERRO , the artist, rubs his eyes continually in order to brush away the twin cobwebs of habit and routine stubbornly clinging to their corners. He surrenders to each new lover a new virginity, and let the excesses of today be distinct and apart from the excesses of yesterday and tomorrow! For him this is the true saintliness of the creator! There are not many saints! MARTIN FIERRO , the critic, knows that a locomotive is not comparable to an apple, and the fact that everyone compares locomotives with apples and some opt for the locomotive, and others for the apple, confirms for him the suspicion that there are many more dimwits than is commonly believed. The dimwit is the one who exclaims “Wow!” and believes he’s said all there is to say. The dimwit is the one who needs to ignite himself with glittery things and is not satisfied unless the glitter rubs off on him. The dimwit is the one who has flattened hands like the pans of a scale and who judges everything by its weight. There are plenty of dimwits!
MARTIN FIERRO values only the dimwits and the bright wits who are truly dimwitted or truly bright and who don’t try in the least to switch sides.
Do you sympathize with MARTIN FIERRO ?
Then collaborate with MARTIN FIERRO !
Subscribe today to MARTIN FIERRO !
OLIVERIO GIRONDO BIBLIOGRAPHY
[1] Veinte poemas para ser leídos en el tranvía (Paris: Coulouma & Buenos Aires: H. Barthélemy, 1922), illustrated by the author, no page numbers. Republished 1925, 1966.
[2] Calcomanías (Madrid: Editorial Calpe, 1925), no page numbers. Republished 1966 with [1] & [3].
[3] Espantapájaros (Al alcance de todos) (Buenos Aires: Editorial Proa, 1932), cover painting by José Bonomi, no page numbers. Republished 1966 with [1] & [2].
[4] Interlunio (Buenos Aires: Editorial Sur, 1937), no page numbers.
[5] Persuasión de los días (Buenos Aires: Editorial Losada, 1942), 185 pages.
[6] Campo nuestro (Buenos Aires: Editorial Sudamericana, 1946), 46 pp.
[7] En la masmédula (Buenos Aires: Editorial Losada, 1954), 56 pp. Republished 1956, 1963.
[8] Arthur Rimbaud, Una temporada en el infierno (Buenos Aires: Compañia General Fabril Editora, 1959), translated by Oliverio Girondo & Enrique Molina, 77 pp.
[9] Obras completas (Buenos Aires: Editorial Losada, 1968), ed. & with an introduction by Enrique Molina, 487 pp. Contains [1] - [7], plus “Membretes” and the article “Pintura moderna.”
[10] Jorge Schwartz, ed., Homenaje a Girondo (Buenos Aires: Ediciones Corregidor, 1987), 347 pp. Contains some previously unpublished pieces and numerous tributes and miscellanea, including “Manifiesto de Martín Fierro.”
[11] Obra completa (Madrid: Galaxia Gutenberg, 1999), coordinated by Raúl Antelo, with textological, critical and memoiric essays, xc, 798 pp. A beautiful edition containing all the above texts, save the manifesto and correspondence.
[12]