[Testimony of Roger Santiváñez]
1
There was a time of innocence and faith in the Revolution, these were, for me, the years 1978-79-80. At that time was accompanied by my beautiful muse-the young poet Dalmatia-to Ruíz Rosas rallies CGTP hot-staged every May, in Union Square in downtown Lima. My companion, as was fashionable to say that time-was a dedicated member of the Revolutionary Communist Party (PCR)-an organization with which I sympathized too-so there we were with all the boys and girls of the JCR of San Marcos, the Catholic and UNI, chanting our slogans loudly and with the heart in the left.
but we were poets and San Marcos, where we followed Literature-frequented a group gathered around and Hildebrand Marco Martos Perez and Poetry Workshop. It would be just at the workshop, an evening of tribute to the great Luis Hernandez (who had just died in Buenos Aires) where I met the poet Rosina Valcárcel. Well, the thing is Rosina, a year-after the rally on May CGTP celebrated his birthday at his parents' home in San Eugenio, Lince rich.
spot went there poetry in San Marcos. That was how I got to meet Violeta Carnero Hocke, of course always in company of the great Gustavo Valcárcel, her husband and lifelong companion. Teen shyly never went to a formal greeting to Gustavo, he was a living legend of the struggle for socialism in Peru, from the field of poetry and contemplating me by far contented with those of his generation, as they could be Alfonso Barrantes Lingan, Héctor Cordero (one of the founders of APRA-Rebel Guevara later became the Movimiento de Izquierda Revolucionaria (MIR) of the guerrilla, 1965) or a poet of the 60s, John Christopher, for example.
ESA is the image that keeps my memory of those parties, with music Quilapayún, Inti Illimani, Victor Jara, Los Compadres, Alfredo Zitarrosa and young Peruvian Nuevo time. Of course, at some point in the meeting, was played the Internationale and well soaked with hearts in two Cuba-free and with fists. I liked talking to Violet because she always focused conmnigo the subject of poetry. I remember one occasion, at my request, "elaborated at length on the Poets of the People group, an issue that in those days I was very interested and there was not enough written material available, but a kind of oral legend in certain circles. I can tell you, "he said," because I was very Violeta near them.
And then he tells the story of this group of poetry, one of whose main exponents must had been Gustavo Valcárcel, and Lima activities during the years circa 1945. He told me that the poets of the group sympathized or were members of the APRA party, but I immediately said: Eye, which at that time be APRA meant to be subversive. They put bombs and all, he explained. Among the poets she said-than-my memory Gustavo recorded the names of Manuel Scorza, Juan Gonzalo Rose, Julio Ricardo Garrido Malaver and Tello. This was before Social Poetry Alejandro Romualdo, "he concluded he was close to the Party Communist, and in the '50s. It is noteworthy that Violeta and Gustavo - at the time, also were members of the single, monolithic PC then (the organization that founded the JC Amauta Mariátegui) before the Sino-Soviet split of 1964 whose impact on the world's communist parties was the emergence of Maoism in the new horizon of international Marxism-Leninism.
At that juncture, the disassembly of reformism Velasco, implemented by the fascist Morales Bermúdez-general that triggered the 1976 crisis and the overwhelming responses from the masses with the National Strike Unit of July 19, 1977, forcing dictatorship to convene a Cosntituyente Assembly for 1978 and general elections in 1980, was when the revolutionary Marxist parties decided to participate in the elections. One of the fronts were formed, bringing together basically what would be the New Left of the 60s whose two main trunks were Revolutionary Vanguard (VR) and the Movimiento de Izquierda Revolucionaria (MIR) - was named People's Democratic Unity (UDP). Well, the poet Rosina Valcárcel took charge of the Culture Committee. That's how Dalmatia Ruiz Rosas and who writes this testimony close ties with her and developed "with this Commission, an intense poetic agitation unions, universities, settlements human and in the streets and plazas of Lima and San Marco and San Martín, often unkind to escape the police caned. At the time charged real dimension of the poems that line underwood Adan Martin: I want to be happy without police permission.
2
In my current daily and evenings immersed in reading, third floor of Paley Library at Temple University, I found the poetry gathered from Gustavo Valcárcel. And remembering my conversation with Violet I read these verses: "They came my letters, appointments stealth / The underground explosion of silence / by the grace of some dynamite / we put in camouflage with kisses. " And also: "In a poor house in La Victoria, Lima / I got a night to uncover your eyes." Times of struggle that the poet remembers this: "but also became the catacombs / when I dressed you in a park amounted kisses / kisses, promises and promises more kisses / for example: you take the Quartier Latin." And in fact took. But before Mexico's experience was deported by the dictatorship of Odria. Be wherever they have been the couple professed one of the most intense love of the history of Peruvian poetry, as is witnessed by these verses for example: "Rest your hair in the harvest of the wind / opal rests his nostalgia on your skin / spring starts when you open your eyes / and the music travels when you sleep. " Very early
Gustavo Valcárcel won the floral games of San Marcos with a beautiful book called Edge of the time and the rose (1947) from which this trisagion: "Summer love your light sound, / plasma kiss marriageable flowers / that the echo of the cloud color. " And to prove his first great lyrical quality of this quatrain: "Rose is a rose unfaithful morning, / softness of its petals tight, / sin of his image possessed / by dew or light lip glass." Usually called social poetry, committed or policy, it stays in the transmission of ideas and becomes mere propaganda, completely devoid of genuine poetry. But, sometimes, we can find verses that give us a true poetic vision, as those who pray in this Elegy Mariátegui José Carlos Gustavo Valcárcel: "You'll come back in the water kiss the desert / You'll come back in the lap of the Indian communities / You'll come back in the oil and the atom, / in the coal and iron / popular power in full of lights. "
In 1980 and after years of silence, the poet published in a full number of prestigious and memorable magazine Haraui who edited the dearly poet, novelist, essayist and professor Paco Carrillo Francisco San Marcos, all entitled "Reflections of the sun underwater light that illuminates the dead", a kind of poetic reflection on the coming of death, in which Gustavo HOWEVER was able to write: "It is a sine qua non / stop is prudent to love." The poet was already in the autumn of his experience and still claimed the madness of love as a boy of twenty.
note I will end this tribute to this couple of communists in the sky as he wrote, with a beautiful poem that Marco Martos wrote about the summer of 1978 and appeared in his book Carpe Diem: VIOLET
Female, brave hembrísima
my Compañon that fateful
of February. A look
who seemed Violeta
that of exile.
Outcast in my own city, I lived
black dark days, evil
my degree, but I Compañon
that made me want to live
at his side. Then I put Violeta
woman being banished.
And while its light is from another time and another hour
,
still see radiant
fresh, ready for anything.
! Female, brave hembrísima
my Compañon that fateful
of February!
[Collingswood, Indiana Jersey, along the Cooper River, April 2011]
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