Pokemon With Very Big Boobs

An interview in Buenos Aires reads

A plea for disappointment

On Sunday June 28 1998, Literary Journal Paper El Nacional gave continuity to the series The Mirror Narciso notebook with a testimony of Jacqueline Goldberg, accompanied by a photograph of his early childhood. The text says it all. Not only about the photograph in question. Here are all the tracks, all the virtues that his poetry has made over the years. The text says:
A pool can be any depth. A transparent rectangle bet with luxuries of chlorine in the gardens of a grand hotel. A tiny circle of inflatable plastic. A puddle after the storm. Or a pot aimed at the slow cooking of shrimps and crabs come from the shores of Lake Maracaibo. Every Sunday I left the private pool scattering stove in the backyard of her grandmother as a rudimentary Luba jacuzzi, roughly where my nakedness aquarium sunny fruit, soap, the laughter of the aunts and the chamber of my naughty parents were the only ingredients of the already elusive happiness.
A vision of happiness is so elusive in the end, offers this poetry from the vantage point of a woman. But it is not our intention to revive the old dispute about the so-called women's poetry written in Venezuela. In any case, it is worth noting the following: some of the books that we will discuss some talk with contemporary published by Goldberg, who report their first degrees from the eighties and nineties. In this poetry, including the author before us today, literary modernism has undergone a severe test by expanding thematic records and how to address them. They can read the allegations about the life and literary concerns of a generation, extending the rhetorical resources of the authors immediately, stresses writing as a witness. On the one hand, they staged the body, sadness, irony and dramatic monologue. On the other, and this makes many of these writings, left in search of recovery at the expense of everyday speech of educated speech, enshrined in many of the earlier poets.
A second circumstance that characterizes these poetic is the fact that their authors have enjoyed the benefits citadina own culture, whether by way of formal university education or informal track of multiple literary workshops proliferated across the country in those decades. This access to cultural city dwellers involved in relation to the previous generation, a shift of both the poetic and the language subjects. Because of this, references to the book culture are present in large fragments of these works. Moreover, these poetic moved towards the inner self, interested in expanding the horizons book-that were traditionally assigned to women specifically. Hence the interest in the body, for the mythological tradition that refers to the feminine, the concern for historical and witness the desire for earthly ailments of love at the expense of a full speech metaphorized idealistic tone that characterized the literature written by women from previous generations.
It is from these perspectives that we want to talk about the particular poetry of Jacqueline Goldberg. Precocious author, his first book, Treinta soles missing, published in 1986 at nineteen years of age. His most recent title published, Order branch, appeared in Madrid in 2003, with the help of Torremozas Editions. These eighteen years of writing describing a long parabola which also includes the following titles in Poetry: From the same center (1986), in all places, under all the signs (1987), Luba (1988), A city force (1989 ), family Masks (1991), Back Office (1992), INSOL in Miami Beach (1995), Eve (2000) and Health (2002). Separate consideration will not be played on these lines, his children's books deserve a lady with a hat (1993), My beautiful girlfriend Flying (1994), The house without a hat (2001) and Bait, a story published in 1998.
From his first book (and this has been said in so many notes about the author), Goldberg's poetry has been marked by the brevity or, rather, by the containment. Thus, in my opinion, it is the use of poets who understand the craft as a form of knowledge and that Venezuela is in line with some poetic lines fleeing the baroque and excessive. More interested in the functioning of the device that in communication, the earliest point to the interior of the poem. Your keys lie almost exclusively within the boundaries of the site, despite its desire to contact the real world. This contradiction is apparent, in general, that kind of darkness that characterizes this form poetry in the West. The brevity of the moment looking for the consecration, the minimum picture of thought and emotion. Perhaps that is why always consider as soon as the razor's edge where you walk through the cliffs of achievement and failure.
In Goldberg's poetry, the darkness is evident in his earlier books (thirty suns disappeared from the same school and in all places, under all the signs). But this game among key internal and real world seems more the search for a phrase, the timid inquiry in pursuit of what is definitely the main feature that characterizes a work: the Voice. In this sense, these books introduce us to one more author interested in the structure and the poor say that effective communication because, at the same time, this avoids that the declarative in favor of containment. The poems in this early period seems to be prepared for the books to come. Exercises for the narrative structure in which to experience in his next title, where the tone of disappointment will play a paramount role.
already achieved the mastery of his voice, poetic adventure Goldberg begins with precise steps Luba, which tells the life saga of a man who comes from failure. In this book are trademarks and the origins of that trip to the disappointment that we mentioned earlier. And when we used the verb tell, we propose here a characteristic of this poetry from this book and others: his desire to make the case and the plot object observed from the outside. What is said in the poem is presented as fact narrated, even in those where the poetic voice assumes the first party. These narratives, here's the strange discovery that characterizes this voice in all its contemporary, occur just reaching for the structure of the short poem.
In Masks family, this narrative process gives testimony of two characters, namely, a mother and her belly. Since the title witnessing the desecration of motherhood, to the questioning of that body as the realization of the feminine ideal. This book offers us a journey from the sacred to the earth, telling the story of a family saga from hope to disappointment.
In his next book, Back Office, we will assist in a process of demystification and the same narrative tone, but this time the character is that of the Beloved, as a passive subject of love. Now the text reads in distance, the rawness of a witness where the poetic seem to talk about another, when in fact it does itself. Also, put into question, by their very utterance, some bourgeois clichés about female. Bourgeois banality of topics that will be developed more strongly from this book.
Miami Beach sunburn marks a turning point in this work. It is perhaps one of the most important Venezuelan poems of the decade, despite the deafening silence that accompanied its publication. On the one hand, from the standpoint of the development of Goldberg's poetry, is a deeper vision of the rites desecrated family and the banality of bourgeois topics. On the other hand, are present, in all its rawness, manners and tastes of a middle class well to use in our country in the past two decades, fascinated by its rise and access to consumer goods to mark and identify membership, consumer goods characterized a bad bad taste verging on kitsch. At times, these poems remind us that Robert Altman film, Three Women. There is also this book a poetic vocabulary extension, now, words will draw on some prestigious poetry, either by their sound or what they design. This expansion marks the resting rescue everyday words that characterizes it to this generation of poets, circumstances over which we have spoken above and let us now explain in detail. Literary modernity inherited from the preceding generation the concept of poetry as an art of words. But for writers new generations, the prestigious vocabulary was already tight to witness another reality. In addition, this adventure plays the poet's life, because with the change of records that the horizon of readers.
Eve is the culmination of this manner of speaking, which have been characterized by its narrative tone, the desecration of the values \u200b\u200bof the middle class and the use of low-status words for poetry. Here takes the stage to maturity, which is assumed to be a hopeless situation, which becomes recognition of desolation. The squalor of the lost hours, the memory of love in other bodies, the fatigue that causes repeated gestures, confession feminine enough of itself, a continuous and painful to shed the masks of femininity to be assumed simply as a body set in the midst of desolation. We
end, but not before put on record our admiration for the poetry that puts on an intense journey from hope to despair, making use not feeling, but rather of the externalities, the landscapes, the faces and gestures as if he were writing a screenplay. It is not easy to talk of helplessness. Make a poem from the everyday and know point to the spiritual from the structure of short poetry are signs of this poetry is a special place in contemporary Venezuelan literature. Is now expected after the book's findings Eve, a twist in this poetry that has managed to strip, with pain and for the benefit of its readers, the vision of the vices and virtues of a class of survival in difficult procedures .

Harry Almela
Foreword to the anthology A salt where I stand. Catholic University
Cecilio Acosta, Maracaibo, 2004.

Blinding falcon
glow
Poetry does not speak of human impacts. It is an impact. Wit: The order of the branches.
A book of the year of the sincerity of the word, which has forgotten how to lie, where hatred is forgiven, serving children from the rancor. In each question and answer, every affirmation and negation are present tragedy and fortune of the tree: the dialogue of the tensions, the word hungry, silence aspiring to be the body, people or nation elected or despised, voice, say target, digging how much is a man, how much of women. We hear noises or they sense the beginning, faith and disappointment inevitable human light prostitute, just became a mandate, custom opaque. Pursued a place: the calm of the language and language impairment niches. Where
begins The order of the branches, also happens to the order of language, ie the order of the spirit. Here there are no poems, but ultimately the strength of a poem. Just one. We are witnessing a breakdown affected formal confirming the thematic landscapes, spiritual and aesthetic values \u200b\u200bof this great and delicate tremor of Latin American poetry, which is Jacqueline Goldberg. Each element grammar is a servant, a metaphor which has always run away, but obedience has breathed a conscious, voluntary, loving, funny. In every line we invade the fall: to be chosen to live confronted, denied, dismissed ... Radical, marginal, the unorthodox love. There are no roads for fashion, but for the original. The word is absent satiety present term. Therefore, this thrill, this nakedness, this childhood.
dialogue for those who wait and watch the lightning. The absence of the full stop is a natural hole, to enter and / or leaving the silence of the tree. There is a manifest disregard for the shadow clearly disguised, for the clarity that destroy the mystery. Each page is pierced by the cry of an order which suffer hunger. By reading we hear the call that has always broken our comfort, our certainty of holding the breath, the way the word and love the other, the power to combine. So we all leave, leaving just the emphasis. So we created the desert that will restore to our real traits, reminding Jabès Edmond. Trouble exodus. Weakness in the face of the earth found. That land is ours only when the other.
The blind poet insists on the falcon. Each verb remains a habit. Fight the mandates of the word written in stone. They yearn for the destination charge. Leave aside the sense dead. No wonder this dialogue to / from the dry. There is something that challenges the root of our communication: how many are we when we speak? How many branches offend the tree? How many branches sprout from me? What this is my order?
at the order of the branches must prepare for the dry. Insist on the fire of the spirit. Because the speech comes the heritage of the anguish of God. That anxiety makes us possible. That thread full of place and time, called woman, called man. No oxygen for space or as available through the pathetic fashion, which some call poetry. In this book, disgust present claim, the forgiveness of the impostor. This word means miracle, humanity, not word.

Alexis Romero
Preface to The order of the branches.
Torremozas Editions, Madrid, 2003.

Configured as successive conversations, poems The order of the branches embody the endless movement of the word spread in the say and hear and subsequent implementation. Oblivious to the monologue of other books of poems by the author, here it is predictable from the dialogue takes place, it is the wandering of two voices in counterpoint sometimes and sometimes unknown in their joints. Among questions, denials, lunges or indifference, both speakers of dialogue make a transit of insults. In the unavoidable leisure articulate conversational orphanages, disappearances, ghosts and treachery, but, beyond declarative reciprocity of torment and guilt, certainly is chides. The poems are open then the significance of a bad practice from the language: a lacerating words to describe the human condition.
In his copious poetic, Jacqueline Goldberg repeats short story structure, whose discourse is established in the realization of their own registers of disenchantment; briefly text the figurative meaning of surfeit, the failure or distress, as well as the desecration of motherhood and family rituals. The order of the branches, the author's first book of poetry published in Spain but now attached to its proven track record in Venezuela and Latin America, continues to be concise scriptural and certain reasons, but with the particularity of denying the uniqueness of the speaker. Reading the book leads to a single poem, a breakdown of voices that, in fact, talk about themselves. In this regard, the statement happens to the splitting of the conversation, and I do not fortuitous vocal duality, here cursing the instance of the other forces. One wonders what it would be reading aloud from a text like this, in an attempt to postpone the complexity surrounding the determination of the turn of the reciters. Lorena

Bou Linhares
Lateral Culture Magazine. Barcelona, \u200b\u200bSpain,
No. 120. December, 2004.

The theme of family is explored with painful clarity by Jacqueline Goldberg (1966). In his poetry can be said to aim the unmasking of bourgeois morality and the island of love. In his tracing of the origins and inner search houses the collection of poems Luba (1988) in which the author is projected on the journey of exile from his grandmother. The subject of family appears also satirized in sunburn in Miami Beach (1995), context very expensive to Venezuela's middle class "Saudi." Eve Goldberg On extreme hurtful perception of reality, confirmation, especially the defeat and removal of desire, addition to the collapse of the emotional memory along with the physical deterioration, giving painful account. In the book Health (2002), which won the poetry prize for Literature Biennial Mariano Picon Salas, 2001 (Merida), as it happens the agony of a family member, the poet exposes, and without sarcasm, rites of living (one of his books published in 1991 called, precisely, Masks of family).

Yolanda Pantin / Ana Teresa Torres
The thread of voice,
critical anthology of Venezuelan writers of the twentieth century.
Polar Foundation, Caracas, Venezuela, 2003.

Goldberg's poetry carries the pain and triumph or to sing to the elements that give us both pleasure and agony. The triumph of feeling free and at the ripe age of all the bonds that imprison women mingled with the frustration of seeing the body forced to undergo the metamorphosis imposed by the years as the creative mind and just blossom, " I'm not a narrow waist / or a few kilos / I spent a stretch of lovers / with impaired bitterness / Augusts have solved certain. " Goldberg articulates his lines sharp and definitive words that make a defiant speech, while making full use of his license poetic. The words flow without writing conventions performing his own decision to live outside the rules: "I have become ceremonious / are no longer interested in the noise / silence of the other / prefer a glass hanging around my house / breakfast without outstanding issues / brag about it to be quite lonely / quite old after all. " But the individual is not isolated within Goldberg's poetry. The memory of their ancestors, the wandering that inherits and the persecuted, interweaves his personal journey: "The worst thing is seen from the same mattress / and have the front deleted / be a missing / an immigrant / a recommended / a nobody unanswered. "

Ligia Aldana

Introduction to reading memory, language and words:
Prose and poetry in the library. Library
Broward, Florida, USA, 2003.

Jacqueline Goldberg is the poet's autobiographical drama and biographies close, felt, assumed. First the room, a space where love falls under the erosion of problematization. After the live fully the other's experience, the guts on that being outside of his own, transferring to it the experience of it to touch the crux of his flesh, his ailing heart. In these ways produces a poetic diction explicit language worked until it incapable of concealment, where they tame the soul and passion in a song on at the same time cautious, confident and honestísimo. Thus sometimes the emotional and reflective self that derive their poems entered the confession with drama and monologue, as irremediable self-pity. His texts, especially the latest, reach the irreverence to the sacred, the self, unusual heights.

Joaquín Marta Sosa
Navigation three centuries
(basic anthology of poetry Venezuelan 1826/2002).
Foundation for Urban Culture, Caracas, 2003 .

Jacqueline Goldberg (1966) did not flee the autobiographical drama, in fact, the voice is speaking of his poems is centered faith and their own circumstances. This happens in Thirty missing soles (1986), In one center (1986), in all places, under all the signs (1987), first degrees in which the privileged space is the room, the bed of love, so that kitsch often called "the room"; site that occurs amatory dance, in Goldberg's poetry, draws the tides of delivery and loss, of disappointment and dissatisfaction, the problematization of amorous encounters. This, as we see, is almost a constant in the studied female voices. (...)
The denominational nature of the speaker is not afraid of pathos, or self-pity, however, one of his characteristic stamp is to cultivate the grain of the ego. The substance of his poetic word is the personality of the speaker, hence the reader to attend a sort of monologue about the circumstances of their own, without masks in the mirror, thus further confirming a vein of these women's voices: the Narciso temptation water looking in the mirror as a field questioner. Stage "statement epic voices in their growth require the affirmation of themselves, their private territories: the bed of love, the mirror, the body of motherhood? Rafael

Arráiz Lucca
The chorus of the lonely voices. A history of Venezuelan poetry. Editorial
Sense. Caracas, 2002.

pain, illness and loss are the common thread of the new book of poems Jacqueline Goldberg, Health (Fondo Editorial La Nave Va, Israeli Cultural Institute Venezolano, Caracas, 2002) winner of the Biennial of Mariano Picon Salas Mérida, mention Poetry, 2001. A lucid and intense book about the transition between health and sickness, life and death on that being in "Walk the Line" without knowing if it will save enough to balance the fall and the gap (...) Experience thresholds and borders, suspense and uncertainty, is what the book seeks to represent: a slow journey to these "vastness of goodbye," where "the truth is always a scandal." This, in my reading, is perhaps one of the most interesting aspects of the book: try to write the unspeakable, that you do not have words to be said that beyond the pain that constitutes the loss (or possible loss) of a loved one, and beyond this life is not death yet, but it is near death, experiencing who are sick.

Gina Saraceni "The vastness of goodbye."
Verbigracia, El Universal, Caracas,
October 12, 2002.

Acer, Goldberg syntax. much as the soul that lies in each of his poems. It is the look of the night on the next day. Being in the rest of the twilight apparent fears and disgusts of the immediacy of the new sun. It's eye look carefully at who knows the horizon: desmantelada arquitectura, desalojada reciedumbre.

Roberto Martínez Bachirich
Revista Nacional de Cultura.
Año LXII/2001/Nº 319. Venezuela.

L a memoria de un pueblo y su genocidio vive en la palabra , y en los vivos, y en la alianza a través del recuerdo de los nombres. La poesía de la venezolana Jacqueline Goldberg está dedicada a Luba, su abuela sobreviviente del Holocausto: son poemas tiernos, breves y efímeros, marcados por la presencia del recuerdo, como si se tratara de la presencia de un retrato constante: es la memoria.

Marjorie Agosin
Miriam's words,
Torremozas Editions. Madrid, 1999.

Luba, a small and very intimate poem requires a sensitive and intelligent reader, one can appreciate its genesis, witness, love, pain and rebirth. With him and through him to honor his heritage Goldberg and connects with it.
The sadness that drowns the poems that are Luba is a sadness about not having a life, having to live in exile and erase the past pain. The suffering of the survivors is how Goldberg pays tribute by the remembrance and recovery of all Lubas, all Jewish women who are robbed of their childhood, adolescence, youth and hope. Women who survived the Holocaust and surviving. (...)
reader Goldberg's poems is left with a deep desire to know more, keep reading, learning of these things may not, to cast light on shadows and questions, to delve into the dark and references intentional, volatile and allusive poet offers us and seem evaporársenos hands.

Joan Esther Friedman
Writer Venezuelan Jewish Women and the Search for Heritage.
Passion, Memory and Identity:
20th Century Latin American Jewish Woman Writers.
Edited by Marjorie Agosin,
University of New Mexico Press, USA, 1998.

In recent Venezuelan literature, the new century moves forward, at least in the following scenarios (...) The scenario of migration flows, which showed a cultural nomadism border trade ( as is well illustrated by the series of returns that has raised Miguel Gomes and the cycles that move in the poems of Jacqueline Goldberg).

Julio Ortega
Literature and futurity.
lecture at a memorial ceremony
thirty years of Monte Avila Editores,
Caracas, 1998.

True to the short poem, with just half a dozen exceptions, from 50 to 70 words in his entire career, he has done has been to Jacqueline Goldberg further processes meat and deeply emotional story but initially expressed with some dark. Also in all related titles, loose reading of each piece is enhanced by the cumulative as such, becoming effectively in Luba and a lady with a hat, potentially in the other-each poem-book, with subdivisions. (...)
Masks family-thirty-five poems, are part of the orbit Maternity lived as tearing, which Vestrini Miyo and Margara Russotto Maria Auxiliadora Alvarez and Maritza Jimenez has given such splendid results. The peculiar thing is this case is that it is a child not yet conceived, merely thought, but given that opportunity or project suffers as well. As the poetic subject, by its nature, is the same as all the work of Jacqueline Goldberg, and we refer, transposing the realm of narrative, a archihablante-which proposes that the stem is a legacy of isolation, doubt, sadness, immodesty, fear, while more than a sociopolitical context threatening, is the shadow of the mother which is educational program: "I will take the place / of my failures, be you and me / in the desert / / a unique and impossible to regret: I keep / my child's clothes / / the smell of death / of that happiness." In this child to be enemy, shroud, death of the mother, he recalls always advance in the imaginary adventure, also that from the outset, did not want to have it: I fought to banish / per me a belly without cracks. Somehow, extended family masks the oscillation between retention and delivery vertebra this poetry, which applied before those who love the child.

Julio Miranda
Poetry in the mirror.
study and anthology of new poetry Venezuelan women (1970-1994).
Fundarte, Caracas, 1995.

To discuss A city force, the book by Jacqueline Goldberg (1966) presented earlier this year by Tierra de Gracia Editores, causes fall into the old temptation to harp on the alleged, convicted and confessed that there are between distillation relationships and style. Two words parecidamente beaten and inexcusable action, but is that in this very young author's analogy of his books seems to support, in style, the archetypal process of distillation. This textual experience would be more proper, becoming constant fathered the happenings where they germinate and extensive variables of the poem has been written. That is the most successful texts of his first books, written in 1985 and published within two years (Thirty soles disappeared from the same school and in all places, under all the signs) and also in the two most recent published in reverse order of their writing: A force of city and Luba.
In many ways, be seen in the first three books the ascendancy achieved by the distillation of experience in the emerging style of poetic language that identifies and Jacqueline Goldberg, the most recent poets but always, in the word itself, rather slowly overturned persevering in succession, as in what she holds to be earmarked for the expression, everything, the theme of the poem as speech, seems determined verbal symbolization flow screening, macerated . (...)
The challenge, the challenge to the game and the dangers have received two accurate answers on the site, so young and almost as heavy, Jacqueline Goldberg, one of the exile and his passions, embodied in that familiar and archetypal ancestor female than from the purgatory of the new city will be assigned randomly, were recovered in Luba: the old and distant young woman who is the mythical ancestor. (...) The other answer is just of the city assigned to chance and is distilled in A city force gathering in the same trance to the two women, native past and the poem, now merged in the voice that reaches out and welcomes them, merging them in a single destination. Finally, as always, the poem you must decide what must be, among all possibilities, it becomes unique: the poem that it was inconceivable that the poem gives no less than the breath of the voice that lives.

Alfredo Chacón
"The town of Luba." El Nacional, Caracas,
November 1, 1990.

Meat

1.-Pain begets the story: in the mirror paraphrase what he said Julieta Campos Fear depend Eurydice, poured into an excellent essay by Juan Carlos Santaella, where, in the light of desire and discourse, it generates a whole theory about love as a place of inquiry impossible and also a prime time .

In Bait (free Hare), Jacqueline Novella Goldberg, pain stars in a story that was made reluctantly writing and theory: Love stories can only be counted from the heartbreak. When you need hurt.

This story of Goldberg's debut in a woman beyond his own sanity amatory, is also a journey into the hell of Orpheus: Santaella tests and concludes in invention of the imagination of desire. You want the body of another , who was lost and is impossible. Desire is the ellipse that forms the thread tied to the bait and hook it to, which will be swallowed by the fish that will be both bait fisherman. A bait is temptation. Love is exposed to sacrifice the desire, it comes and goes, is only the imaginary space where he was.

The woman is the bait of someone a little more than write a story. The woman is her own flesh because the mature writer, which leads to the cottage, has been to exercise the imagination: sex is only the bait, the woman who wears the desire because I lost a another above.

2 .-

In the beginning was the desire. The desire engendered the verb, which begat the couple, who gave birth to the island. The island was a paradise quotes Santaella Julieta Campos. Bait the female character is the desire, but who engenders the present is the verb of another reality. His legs, belly, sex, are outlined in a cabinet that does not culminate in pairs, to island. The lack of love in women is reason to cherish the suicide, a decision thought, excited.

This novella Goldberg, honorable mention in the Biennial Literary "Ramon Miguel Utrera" (Ministry of Culture of Aragua, 1997), was armed with flashes of images, poems and diaries that make the body a dark history, as the same character who moves through the story. The references in this story are in the loss, abandonment, permanent search Island:

a couple possible, the place of paradise, the utopia, the dream oil that reduces the ability amatory and transforms it into the illusion of death.

In this case, the couple insulariza not because it has the end of love, death of love. The desire, on the decline, advances an environment where failure closes the connection. Love is in What written, ie in the dream. An epitaph seals the page.

3 .-

year I knew again that infernal noise outside that I was not invited. I knew twelve bells, fireworks and cars rushed into the street. Someone had given me a hug . away. In this passage the solitude of a hotel full abandonment. It's like a death in which the memory of individual failures accumulated to make way for dizziness, tearing, to a writing on the skin.

had known that the final finding a word is silence, there would have never started this break. I have grown in the perseverance of thirst. With the stomach cracked with fright.

In the beginning was the Word. This often kills the desire, love. Then, silence.

Alberto Hernández