Faces On American Coins

Lunita Rosarina: a book containing the columns written by Sebastian Ries for the online edition of newspaper La Capital

to www.elfisgondigital.com


"Someone said Once I left my neighborhood ... when, but when?, if ever I'm coming. And if I forgot once, the stars of the corner of my old house, hands flashing like friends told me: 'fat, stay here, stay here ....' " As the voice and dying and broken the "Polaco" Goyeneche in "Night of my neighborhood," Lunita Rosarina (Editorial Homo Sapiens), Sebastian Ries's book, treasure this strange attachment between the attachment and longing.

Although it is difficult to define at what stage of the literature lie the micro-stories that make up the work, the fact is causing the impact to be at the vehemence of a song that brings the inevitable tango "Sur" "Niebla del Riachuelo" or "Vuelvo al sur" and outlines a kind of 'I was there', 'did the same' or 'pucha, how time passed. " However, tactile, olfactory, visual and hearing of the images reconstructed by the author, are totally clear and tangible though years definitely have elapsed relentless.

The book launch was held at the Auditorium of the library and called Homo Sapiens many "friends and readers" that the author acknowledged their presence, visibly moved. He was accompanied by Marcelo Scalona writers and Andrea Ocampo, who presented two separate analysis of the work presented, which is the third title of the collection "City and Shore."

Rosario Lunita

brief written together Riestra published weekly in the online edition of newspaper La Capital of Rosario, where he also serves as Editorial Secretary. "When the paper web facing columns as open space, there is no indication that one may exercise his pen," said the author, so he decided to embark "on the waters of the first person." The writings, he explained, are totally unrelated to information or coverage and talk about the city, love, country, politics, bars, streets, books and friends.

Miscellaneous "or Aguafertes Arlt?

"I hate the label of Etchings - Ocampo said - although it captured the spirit of Arlt and circulating the same way: in a newspaper and now a book." For the writer, some of the stories are about the chronic Riestra and other mutate to become Microfictions: "Above all, move on the edge, dangerous terrain where social criticism mixed with poetry and politics intersects with personal memory. "

According Scalona, \u200b\u200bRosario Lunita construction is a line of poetry consisting of short texts or miscellaneous, with the ability to construct phrases with great care. "This means that in a prose as it is to savor the lyrical impact and shock, beyond the revelation of a truth or justice complaint," he added.

"For freedom and for that friend who is no longer"

One of the most moving moments of the night was near the end of the match when Lunita Riestra dedicated to Omar Rosarina , "a dear friend and companion of adventures" died. "Black, for freedom," he said, after filling his glass from a flask (which may well be full of gin or gin, but meaningless to know what drinks are concerned) and making more of a thrill this is to tears. Then read the text "Goodbye friend," transcript at the bottom of this note.

"A city between the boulevards - said Ocampo - where where generations come together and recognize as a small inner city and it places special meeting. The book, undoubtedly, has the magic of a way of looking at a common area, an ineffable place where only the Rosario recognize the roots, perhaps love (why not indifference) and traveled everywhere left behind, either demolished buildings, pubs that closed their doors or simply that they were buried in oblivion.

Goodbye friend, by Sebastian Ries

http://www.lacapital.com.ar/columnistas/sriestra/index.html

alcohol was a time strident and unlimited adventures. The city began where we wanted and never ends. The night, however, and as life had purpose: inevitably came, unwelcome but beautiful morning.

(And we found anywhere, almost always laughing. Irreverent, wild and, now I understand, "beautiful in challenging our freedom, who refused to be defeated by the world, by reason and by the year).

Now, of course, too late. As usual, death came first and stayed with all the flowers. The flowers are rotting and the memories go. But there is little time before, to try to save the words.

And that's what I'm doing here, save the memories the death that took his friend. He is already dead but please do not pass the same to the memory. He already was, badly and in pain, but we will not let pain beat us and we crush, we turn to dust and oblivion.

The city opened us we were generous and without fear. We were friends as only the twenties is a friend. We did not care all that much, that is, we care about what's important. That list did not include the money and women: self love, which is not the same. And the books, records, trees, rivers, bottles, ideas, streets, dogs, playing cards, the sweetness.

We believed in the gestures and were able to have them. We believed in the venture and had the courage to look. We believed in the sea and went to see him.

What separated us after not matter. We will always be together in one village. Our shadows were out there hugging. In a neighborhood walk zigzagging a bit: gins we walked hand in hand.

not need anything else have been. With that achieved. We did it once and we flourishes. The petals are slipping through the mouth. We fly as we get confused with the sky.

The Black walks in bars and in us. Until we meet again, will be. Flag that we carry in the wind.
Amigo.

Sebastian Ries

Author information

Sebastian Ries was born in Rosario (1963), published four books of poetry: Acid in the hands (1991) , The future of the dead (2002), clitoral (2003) and Romero (2004). participated in several poetry anthologies, coordinated workshops and courses in Rosario, Buenos Aires, La Plata and the province of Santa Fe is currently undersecretary of newspaper editorial Capital of Rosario.