Luvina Núm. 54

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La edición de cada número de Luvina implica un ejercicio de imaginación verbal. Las escrituras que la componen son una puesta en crisis del lenguaje. El lenguaje se vuelve vacío, olvido, apariencia que niega significados, para conquistar el movimiento propio, ensamblaje pieza por pieza de una interioridad: sus palabras oídas desde dentro. Letras al aire, el lema de este número, quiere volver consciente el hecho de la oralidad de la lengua, de su origen como mimesis de un mundo que antes que pensado es oído, como una catarata de percepciones auditivas que al sedimentarse son resonancia y quedan inscritas en la memoria humana. No hay lengua inmóvil, dice Thomas de Quincey, con el Verbo se toca el mundo de los dioses y a través de las sonoridades conquistadas la fuerza oral del lenguaje logra su propia dicción, la exuberancia de su nombrar. El lenguaje, revolucionado en su forma alada, en su gama de sonidos, recuerda su naturaleza de incubador del germen de ficción que conecta al hombre con los mundos invisibles y penetra lo secreto. Presta a indagar los acordes de la gramática y las ráfagas del lenguaje, Luvina sale al aire con un programa en Radio Universidad de Guadalajara,* en donde más que reproducir la hoja escrita, quiere penetrar y transmitir las capacidades laterales y subordinadas de la oración, las bisagras y acentos de la frase, los litorales del lenguaje: oralidad, traducción, vacío. Aislada o en conjunto, abigarrada o ligera, prosa o poesía, la enunciación: cláusulas rítmicas de la lengua lanzadas al amplio espectro de la eufonía.
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Dos poemas
LA COSECHA
Anotaciones en torno a un tiempo ido
Por la vuelta de los ángeles
A media voz
Yo ladrón
Tres poemas
Breve apunte sobre el vacío en la literatura
Bichos de estimación
Prefacio a la Teoría de la literatura
A costa de mi caudal
El soplo sucio de la belleza
Poemas
 La traducción como lectura o hacia una ética de la traducción
Jim Thompson: el Dostoievski del pulp
Grupo de tres en el apartamento Cuatro-C
Ni de noche ni de día
¿En dónde estará el nido / de esta canción mecánica? Manuel Maples Arce, La poesía estridentista y la radio
Una emisión subversiva de Antonin Artaud
Para terminar con el juicio de dios
El primer sueño
El buen Dios de Manhattan
Tiempo fuera
Beckett radiofónico
P l á s t i c a
P á r a m o
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Poeta mexicano. Licenciado en Letras por la Universidad de Guadalajara udg. Desde 1997, trabaja en Biblioteca Iberoamericana Octavio Paz de la udg.  Autor de más de cinco poemarios. Ha publicado en las revistas Tierra Adentro, La Tempestad, Cuadernos Salmón, La Colmena, Cantera Verde y Letras Libres. Sus textos se pueden encontrar en antologías colectivas y han sido traducidos al francés y al alemán.
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Egresado de la carrera en Ciencias de la Comunicación, trabaja como periodista desde hace más de diez años. Actualmente labora en el diario Público-Milenio, donde se ha desempeñado como reportero, columnista y, desde 2007, editor de la sección Cultura. En el periodo 2006-2007, su proyecto Pésimas personas contó con una beca del Programa de Estímulos a la Creación y al Desarrollo Artístico. Es autor del volumen de cuentos Vietnam (Ediciones Arlequín/Universidad de Guadalajara, 2005). Relatos suyos han sido incluidos en las antologías ¿Quién despertará al final de mi sueño? (Rayuela, 2007), Cruce de líneas (Paraíso Perdido, 2007) y El futuro no es nuestro (publicada por la revista virtual Pie de Página). Un ensayo suyo, “Topógrafo de la sordidez”, apareció en Acercamientos a Rubem Fonseca. Premio Juan Rulfo 2003 (UdeG, 2003).
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La edición de cada número de Luvina implica un ejercicio de imaginación verbal. Las escrituras que la componen son una puesta en crisis del lenguaje. El lenguaje se vuelve vacío, olvido, apariencia que niega significados, para conquistar el movimiento propio, ensamblaje pieza por pieza de una interioridad: sus palabras oídas desde dentro. Letras al aire, el lema de este número, quiere volver consciente el hecho de la oralidad de la lengua, de su origen como mimesis de un mundo que antes que pensado es oído, como una catarata de percepciones auditivas que al sedimentarse son resonancia y quedan inscritas en la memoria humana. No hay lengua inmóvil, dice Thomas de Quincey, con el Verbo se toca el mundo de los dioses y a través de las sonoridades conquistadas la fuerza oral del lenguaje logra su propia dicción, la exuberancia de su nombrar. El lenguaje, revolucionado en su forma alada, en su gama de sonidos, recuerda su naturaleza de incubador del germen de ficción que conecta al hombre con los mundos invisibles y penetra lo secreto. Presta a indagar los acordes de la gramática y las ráfagas del lenguaje, Luvina sale al aire con un programa en Radio Universidad de Guadalajara,* en donde más que reproducir la hoja escrita, quiere penetrar y transmitir las capacidades laterales y subordinadas de la oración, las bisagras y acentos de la frase, los litorales del lenguaje: oralidad, traducción, vacío. Aislada o en conjunto, abigarrada o ligera, prosa o poesía, la enunciación: cláusulas rítmicas de la lengua lanzadas al amplio espectro de la eufonía.
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Dos poemas
LA COSECHA
Anotaciones en torno a un tiempo ido
Por la vuelta de los ángeles
A media voz
Yo ladrón
Tres poemas
Breve apunte sobre el vacío en la literatura
Bichos de estimación
Prefacio a la Teoría de la literatura
A costa de mi caudal
El soplo sucio de la belleza
Poemas
 La traducción como lectura o hacia una ética de la traducción
Jim Thompson: el Dostoievski del pulp
Grupo de tres en el apartamento Cuatro-C
Ni de noche ni de día
¿En dónde estará el nido / de esta canción mecánica? Manuel Maples Arce, La poesía estridentista y la radio
Una emisión subversiva de Antonin Artaud
Para terminar con el juicio de dios
El primer sueño
El buen Dios de Manhattan
Tiempo fuera
Beckett radiofónico
P l á s t i c a
P á r a m o
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Poeta mexicano. Licenciado en Letras por la Universidad de Guadalajara udg. Desde 1997, trabaja en Biblioteca Iberoamericana Octavio Paz de la udg.  Autor de más de cinco poemarios. Ha publicado en las revistas Tierra Adentro, La Tempestad, Cuadernos Salmón, La Colmena, Cantera Verde y Letras Libres. Sus textos se pueden encontrar en antologías colectivas y han sido traducidos al francés y al alemán.
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