A chronological journey, trying to capture and configure the work of Herbert Helder in the developments since the inaugural moment of Love in Business (1958) to Death Without Master (2014), coming up with a difficulty: the poet revised, deleted, and ended up brought together to present their poetry on a continuous synchronous, a “summary” (he did not want it to be an anthology) that he named Or Continuous Poem .
It is as if his work (which, let’s not forget, also comprises two books of prose: Steps in Volta and Photomaton & amp; Vox ) obey more to a logic that engagement of development. So she just a way for shave or omit its implications with certain historical and literary manifestations, such as concrete or experimental poetry and surrealism. When, in 1981, there is the Poetry All , a single volume, it becomes clear that the trend later pronounced, is to clear steps and timelines, as if the poet did not write books, but poems for a single book, parts for a poem ever expanding. Perhaps the last book, The Death Master No , published a year ago, is one where we can find some discontinuity, a more difficult integration in “continuous poem.”
Aware itself, in the highest degree, the poetry of Herbert Helder early Orphic and claimed a shady character, who comes from a different region of modern lyricism. It extends their genealogy to ancient voices that come from the depths of time (hence the relationship with the magic and ritual poetry Herbert Helder “changed” to Portuguese), while being eminently present and in dialogue with the great poetry of his time.
“Poetry is a baptism stunned,” says the poet somewhere, making us realize where does his “demonic language”. There is indeed a demonism and a demonic theme very present and even explicit in some poems, like that which speaks of hell and makes an exhortation: “Get away from me the innocence / i speak demonic language”; or other, more recent, when it gets to this formulation: “We live demonically all our innocence”
Any Herbert player Helder know empirically corresponding to this demonic language, even if not try analyzed. it conceptually: is the language provided with a fury, which has the power to “sing”, rather than “tell”, and moves away from the immediately communicative language. This poetry is thus a “letter singing”. This was the title chosen for the first meeting of poems in 1967. This title, which will be taken into a new meeting in 2009, serves as the principle of poetic: the one who understands poetry as primary craft – jumping over the literature and stories will immerse in an infinite connected to the origins – and the poet as officiating
It is, and introduces more than words and is, has to do with the next diction of the corner spells and. instead of representing, establishes. And for being anti-representational, anti-mimetic, is that poetry is “one baptism astonished” and gains the dimension of praise.
We can relate demonism with heroic age of literature. He brings terror and the tragic. The relationship of beauty with terror, the tragic beauty, is a typically herbertiana relationship and requires the action of myth. We then realize that the poetry of Herbert Helder forces us to unusual influences between myth and history, between magic and science, between the tragic and the lowest materialism of the eschatological body, between chaos and the most imposing order . . It is one of the most extreme manifestations of what can be called a poetic anti-humanism
This huge force had an effect: the so-called “Herbert Helder effect.” As Fernando Pessoa had been the great poet strong, for which all those who came after had to be located, also Herbert Helder was a strong poet for many who came following a center of attraction which caused much epigonism.
When, in 1985, published his “Anthology of communicating voices of modern Portuguese poetry”, entitled Eloi Lelia Doura , realized is better than fixed this book a constellation of poets that did not follow the canonical mappings. Herbert Helder was very sparing in public demonstrations about the poets who came after him, but he had the will to choose and invent your own tradition.
Some unpublished poems in Office Cantante , added to the section which incorporates The knife does not cut the Fire , brought a new brand or at least something that never had maifestado so clearly: the reactive violence. Then, in some moments, we are close to invective, the battle cry, the untimely retreat, nihilism. And we are also faced with a fury that introduces the obscenity and the paltry world of everyday political order, “the lyrical ministry, the most serious and misconception, the gift, do not have it, peek, reader, / over the shoulder of other ( …) / know however some dancing on the edge / that surreal tusa! / or withered fuck? / me, I do not believe in God, country and family, / in general theories of language / life everlasting , / grammar, / in strict fuck, / in technical practice no, / in the language of glory, / no insertion support worth me, / and poems may not pass because there are many dogs barking. ”
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