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By Mario Benedetti

Edición en un solo volumen que reúne todos los poemas de Mario Benedetti publicados entre 1950 y 2001, testimonios de los angeles propia existencia del autor, engendrados con l. a. sencillez y claridad que tanto le caracterizan.

Amar, luchar, trabajar, morir, todo es motivo de poesía para Mario Benedetti. Cada pequeña situación del vivir cotidiano merece una canción, una celebración a l. a. constante sorpresa de existir. Para él, los angeles poesía no tiene sentido si no se comparte, si no se reproduce, si no fecunda.

Como es routine en las recopilaciones de l. a. poesía de Benedetti, cada volumen se abre con los angeles producción más reciente y concluye con l. a. más antigua, quizá con los angeles secreta esperanza de que el lector, al tener acceso a su obra por los angeles puerta más nueva y más cercana, se vea luego tentado a ir abriendo otras puertas, «a beneficio de inventario».

Inventario 1 integra todos los poemas publicados en libro entre 1950 y 1985:Sólo mientras tanto (1950), Poemas de los angeles oficina (1956), Poemas del hoyporhoy (1961), Noción de patria (1963), Próximo prójimo (1965), Contra los puentes levadizos (1966), A ras de sueño (1967), Quemar las naves (1969), Letras de emergencia (1973), Poemas de otros (1974), La casa y el ladrillo (1977), Cotidianas (1979), Viento del exilio (1981) y Geografías (1984).

Inventario 2 reúne todos los poemas publicados en libro entre 1986 y 1991: Preguntas al azar (1986), Yesterday y mañana (1988), Despistes y franquezas (1990) y Las soledades de Babel (1991).

Inventario 3 contiene todos los poemas publicados en libro entre 1995 y 2001: El olvido está lleno de memoria (1995), La vida ese paréntesis (1998), Rincón de Haikus (1999) y El mundo que respiro (2001).

Miguel García-Posada dijosobre Benedetti...
«Tenía Benedetti el instinto de los angeles palabra creadora, los angeles capacidad de pellizcar el alma que solo poseen los poetas mayores.»

«Benedetti period, aunque algunos se escandalicen, un machadiano del verso, que sabía que l. a. poesía se produce en el tiempo o está abocada a l. a. nada.»

«Benedetti, hay que afirmarlo de entrada, y sus versos tenían, tienen, los angeles garra de los genuinos poetas populares.»

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Patterson, American Annals of the Deaf, Vol. XXIII, 1878, p. ) The vividness, immediacy and dramatic impact of this language are reflected in the following excerpt from an anonymous article in The Arkansas Optic, circa 1910: It is the language of the soul. It stirs the heart to the deepest depths of pathos; it convulses the frame with the merriest peals of laughter. I have seen again and again some Demosthenes of the deaf carry his audience in the sweep of Page xi one fleeting moment from the agony of burning tears to the delight of enraptured smiles.

Strange to say, it was a Spanish monk who, during the sixteenth century, was the first to think of and attempt the task, then thought impossible, of teaching deaf-mutes to communicate thought without words. His example had been followed in Italy, England, and France at various times. Bonnet, Wallis, Bulwar and Van Helmont had brought forth important works, but they did not fully realize their good intentions. Some good had been accomplished here and there, unknown to the world, almost accidentally, and Page 13 without any resultant benefit.

If I attempt on the contrary, to draw nearer to him, if I dare to recall his old love, will he not ask me to separate from my daughter? " While meditating thus, Madame des Arcis kissed Camille. " said she; "I abandon you! I, to buy the semblance of happiness which would, in turn, escape me, at the cost of your repose, perhaps, of your life! To cease to be a mother, in order to be a wife! " Then she returned to her conjectures. " she asked herself again. "What will Providence ordain? God watches over all, and sees us as well as others.

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