CALLIGRAPHY No. 6. "Arturo Alape or value ..." Alape .
TODAY
ALAPE ARTURO
(Cali, November 3, 1938 - Bogotá, October 7, 2006)
turned 70.
MEMORIES AND TRIBUTES
OF NTC ...
open NTC Blog ... and Arturo Alape
the August 16, 2006.
On the Origin of the blog see:
(a chronology of the time waiting ...)
. Portal-blog
we ran ... .
. CALLIGRAPHY
Con-texts and Humanity City
No. 6. Oct.-Nov. 2008. New era.
TITLE-LOGO and content (picture below)
Four pages with text on Arturo Alape (Images below)
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The edition contains the text:
"Arturo Alape or value of outstanding humanistic conscience"
* By Luis Alberto Diaz Martinez, Writer and independent communicator
.* Later, after the pictures, published as full article text. We thank the author
habérnoslo provided. -----
LESSON posthumous Remembering Arturo Alape-
By Elias Calarcá
Mejía, October 31, 2007 Published
later. We thank the author to send the message. -----
(Click on images to enlarge them and make them readable . Click on "Back" on the toolbar to return to here)
.
Title and content of the newspaper
. Page 1
Arturo Alape or value of an exceptional human consciousness
By Luis Alberto Díaz Martínez *
In his tribute during the week of our Vallecaucana (April 2007), his beloved brother Alvaro Ruiz in his 70 birthday.
There is no greater privilege in life than to share one on one, thought, voice and work of an exceptional human being. Yes, a human being few, of the same misfortune that our species today are also in danger of extinction. So, what you would call a truly exceptional human being, full, brave, simple, warm, honest, respectful, honest, tireless, creative, analytical, tolerant, studious, stubborn, happy, enterprising, generous ... as indeed it was and still is the beloved Arturo Alape. Yes, just as very little is customary in these days where the simulation, the avivatez and greed have become the raison d'etre rogue cambalachea easily to one's mother by the much coveted "fifteen minutes of fame" at all costs or socio-economic scaling wild or sick achieving any power at all costs.
So rather than keep repeating the flat of necrophilia, which inevitably requires us to have received in our collective unconscious training with weights of Judeo-Christian messianism, guilt, fear and all manicheisms fetishists and fans leading to the hypocrisy and double widespread moral suffering. Yes, before convening such a negation of life that often become the posthumous recollections, I propose that we continue to find ourselves rather than always the life and work of Arturo Alape judicious reading of each of his books, but especially in the Following the questions that never be stopped and the search for the answers that we continue to advance, so hopefully sooner than later, will produce the practical effect of not killing one Colombian follow in a stupid war that only benefits the producers and traders of weapons, along with brute force farmers and megalomaniac businessmen around them.
Not surprisingly, few historical works, literary and journalistic in Colombia as Arturo Alape ( The Bogotazo: memories from oblivion, 1983 , Night Bird, 1984, Peace, Violence: Witnesses of 1985; The lives of Pedro Antonio Marín, Manuel Marulanda Velez, Sureshot, 1989; Tirofijo: dreams and mountains, 1994, and Ciudad Bolívar: the bonfire of illusions, 1995, Looking at the end of dawn, 1998, Blood of Others, 2000, and The corpse unburied, 2005 , among others) have devoted -assuming the risks of exile, terror and loss of health and to facilitate full understanding of the factors affecting the infamous story of death and destruction we have been repeating one generation after another, almost resigned to not finding any sensible solution . But above all, to promote awareness, this knowledge being human that allows consistency between what we think, what is said and what was done, more to never give up compliments of the exclusive hold and accumulate useless objects appearance, ostentation and extravagance.
Therein lies, then, the importance of reading, studying, analyzing and reporting, again and again, as many of our fellow Americans, this memory-building exercise in which strove tirelessly Arturo Alape, an antidote to legarnos effectively immunize us against forgetting. Precisely calculated from oblivion, which prevents the investigation and therefore the solution of the absurd that we suffer in our country on behalf of many of the owners of the economic and political powers who for fear of losing from the very origin of our republican life, For nearly 190 years, have been happening in the conviction of believing more and better than others, and therefore owners license to proceed with unbridled brutality.
that extent, the genuine commitment of a writer and humanist society, with the inquiry of what is happening around him, has taken Arturo Alape an exemplary exponent. And while until his last day did not stop progress in the task of completing their research projects and writing.
always concerned about the lack of true vision, inclusive, complete, on the history of Cali in the 50 and 60 of the twentieth century who lived as closely as a student of fine arts in the CPI as a student leader and therefore did not understand that only refer to what happened in their homeland since the 70's to today, if those two decades were the foundation of the rest ..
For these reasons, Arturo had been proposed in two literary novels recreate the periods between 1948-1958, a (from The Bogotazo in Cali, through the explosion of August 7, until the fall of the dictatorship of Rojas and the pajaramenta the time), and between 1958 and early 60's, other (including expanding the Cali on behalf of vacant land occupations, the organization of the student movement and erection of his monument in the barrio Lleras, as well as the formation of MOEC by peers of his generation) as a way to reconnect with the Cali who began full report in 1984 on the novel Night of birds, focusing on the killing of Liberal House in 1949 and the rounds of the birds or hired government of the time, and where he began his study of the phenomenon of forced displacement in the western mountain range that still stands.
Unfortunately, this effort only managed to describe it as more than 20 interviews with various people who lived through these events, as in a workshop on research and writing in which he referred to some detail in this regard, in 2005 and 2006. Consequently and as a way to complete a real tribute to his memory, should be much to our Vallecaucana respective authorities through the Ministry of Culture and Printing Department, should try by all means in association with their heirs help this dream last of Arturo Alape ensure the full implementation by publication.
remains as the record of enduring contribution to human consciousness as that of Arturo Alape and his desire to leave us clues to understand what we are. Arturo Alape and did his part. It is up to everyone else, do our part and in the same direction, no matter how little or much, but something. And that both of conscience begins with each one of us in his daily life.
* independent writer and communicator.
records-del.html
ARTURO ALAPE
Cali, November 3, 1938 - Bogotá, October 7, 2006
BIRTHDAY 68.
honor and memory
Centennial Library, November 3, 2006
+ + +
LESSON posthumous Remembering Arthur Alape-
By Elias Mejia mejia
--- From elias
<
eliasmejia2000@yahoo.com > to Alape Blog aalapeblog@gmail.com <
>
date Mon, November 3, 2008 at 8:44 a.m.
subject Re: -> Arturo Alape, turned 70 TODAY. NTC Reports and surveys ...
.
thanks for the blog. I refer memories that I wrote about his visits to Quindío Arturo, during which I had the opportunity to share your conversation and enthusiasm for history and literature as a fundamental tool to convey the sounds of the memory, the unofficial history . Perhaps this subservient to my letter to something. Can make use of it, with pleasure on my part. It contains a story that only I can count. The attachment at the end of this message.
Sincerely, Elias Mejia
- LESSON
posthumous Remembering Arturo Alape-
By Elias Mejia
Calarcá, October 31, 2007
.
There was no reason to travel to Calarcá Arturo Alape in December 2004 and spent five days there, including Christmas 24. Great was the surprise of his visit, since those days people look rather be with their families to strengthen relations and wallow in the consumption of wine and stuffed turkeys. There was no reason, unless it was to establish a foundation loop in this region that was very seldom, to leave their mark on the people who share those days with him, expanding wave of historical and literary thought. Somehow I thought that we were adhered to by these homes, and was sure that after this holiday details not stop talking for a long time for the unexpected story originated in the apparent courtesy.
Indeed, in the Quindío Alape left a seed of love, though I doubt people have been able to start in the discipline of research in order to complete the country's history, as well as he wanted, telling aspects of the "unofficial history." He had no time to help us put in order by writing "rumors" of memory initiatives of truth in its methodology. Never materialized proposed workshops carelessly on a hot coffee.
The first time I saw Arturo Alape was in the mid-80's in Armenia, during a meeting of historians organized by Carlos Ortiz, a professor at the University of Quindio at the time, historian himself. At that time, alternated with leading Colombian historians a writer French and Swedish author, to discuss various issues pertaining to the phenomenon of violence in Colombia, including drug trafficking. But I must confess that I attended the presentation of Alape, although they did invite me to lunch which was held with them on a cattle farm on the outskirts of the city, near a place called The Quindos. Ending
the 90, he first opportunity to hear and greet and armed with the argument of his earlier visit to Armenia. It was in the room to the Street Artists, an organization for those years based in Calarcá, regularly inviting speakers and creators of all kinds to exhibit their work. Arturo had his book The Bonfire of Illusions, one of those works by which he tried to incorporate into national history life stories of some people representing the slums of large cities, in this case, with a view from Bogotá, place where you can see "the living history of transhumance in the country."
Years later, one morning, during one of the national meetings of writers who've made in Caicedonia, brought from Armenia a package of five kilos of coffee export type of samples that are roasted and ground into the Cooperative before send the bags to the port. I said, while walking the path round to Valle del Cauca, the first writer known to find it obsequiaría. The first was Arthur, the entrance to the building of the Casa de la Cultura. We salute you. I gave it. I was happy and smiling. Said, his voice soft, coffee will suffice for two or three months. That simple gesture of his joy, he told me he had sealed forever friendship with one of the most prolific intellectual and kind in the country.
Since then I had other opportunities to see him. Two of them were also in Caicedonia. In the last such meeting, along with poets Quindiano Senegal and Gustavo Humberto Rubio, I shared a table with Alape and Oscar Collazos during the presentation of the work proposed for that time around "to power as a frustrating element of the dreams of men" as we called the organizers of the meeting on the invitation. I read a text called Allegory of the condemned man, Arturo, read War and the power of words: disjunctive history of the FARC, told Collazos, without notes, "making it clear that one of the things you enjoy doing in life is to think as she speaks, the misfortune of a girl abused and mistreated by her father in Cartagena, a story that was published later as a novel under the title of Grudge. Senegal made a tirade of Eastern philosophy against the power, and Gustavo, due to a marked visual problem, he read with difficulty something I do not remember, because I was aware of the babble-apparently fear and insecurity, not the content of their reading. Actually I was a little nervous himself next to the monsters. During the forum, the public they were asked many questions and Alape Collazos; for me made the consolation final question of courtesy.
During the penultimate game I bought Blood of Others, a novel designed around the children's saga of a couple of kids from Bogota, mason sons drunk and waste recycler, who as a result of the tortuous privacy parent family, full of shouting and discord, were "the streets as a treat" at hand. These children want to live, play around in them takes a break from the daily life of their unhappy housemates. Finally they leave the house after getting the sad freedom, known to his age neritic Park around Journalists, who make the decision to travel by foot from Bogota to Medellin. That path was for them a full epic adventure at every turn.
While traveling, determine who is the leader of the group by demonstrating courage who left eye closer to a tarantula they did climb a stick, of the many who suddenly had found crossing the road together in an unusual and shocking sight. This epic of liberty child becomes the story of a misfortune, when, shortly after arriving in Medellín, are outstanding students from a school of assassins. Their lives become truculent and brutal, while, after many massacres and fighting, just one of them survives, "Ramon Junk", who returned to Bogota to continue marginal destination indicated from home by their parents. Scrap is Ramon who tells all those events to Arthur.
continued communication with Arturo sporadic telephone and Internet channels, available through your generosity. One day promised to send books from authors that we mentioned during our conversations. Promise fulfilled. Among them, I got a multiple rating on Leon de Greiff, compilation of his own, printed in 1995. Also, looking at the end of the morning, another of his books: "A love triangle develops in this novel where dialogue of life, history and the dream world with literary creation, exercise research as voyeuristic act and documentary films . Creation, reality, cinema and photography are joined in the confirmation of memory back from oblivion and contextualizes suggestive way the period of violence to pay tribute to the life of Quintin Lame and Juan de la Cruz Varela. "Record in the back the poet and literary critic Mary Luz Giraldo.
cited
During the last meeting in Caicedonia, Arthur said he was writing a novel he hoped to complete by the end of the year. This was the corpse unburied. He made a brief account of the plot, based on one of the many historically significant events that started on April 9, 1948.
In the early pages, he recreates the moment of tension colossal lived in Bogota for what is now known as the "march of silence." For higher orders, a police captain should come out of uniform to infiltrate the crowd attracted by Gaitan and "make a point of intelligence." In the recreation Arturo achieved in this way, the captain Tito Orozco Castro, commander of the fifth division of the police, it becomes just another spectator capital in civilian clothes, although exceptional, awe admiring the tight slow and the resolution with which the people march to the Plaza de Bolívar. Orozco Castro is at the same time, watched by almost ghostly figures of three of the protesters during the tour that contained storm flow. They know who he is. Watching him. Show themselves to intimidate, but they respect. Surely appreciate his boldness by being there without uniforms, but the reader knows that you do not forgive any lapse in his modest behavior. Do not take their eyes off him. It's like the theatrical act that precedes a tragic and inevitable. Input we get caught by the story. That is slowly weighing as the shadow of death over the heads of people Bogota. Pages later, Orozco Castro dies, but not by the hands of the people that days after floods, fire and kills.
Center
narrative thread of the argument behavior of this novel, is Toledo Felipe Gonzalez, "the court reporter Star Time", called by Gabriel García Márquez "the father of the crime reports in Colombia." Toledo Gonzalez helped the widow of the captain to find, years later, through the relationships of confidentiality in his journalism and his driving research, where it was melted down the body of her husband. Orlando came to know Quintanilla, the man who turned to murder, and even those who had ordered the execution. I say no more of the argument. The rest is rapid and suggestive.
Arturo sent me one of twenty copies of the manuscripts of the unburied corpse to make a reading. I was one of the honorably chosen to perform this work. In its methodology, Arturo shared several copies with writers and friends to make adjustments before starting formal editing. Meanwhile, the book was advertised in the press. So I heard that Tito Orozco Castro would not be called so in the novel, and that the same would happen with his wife. The names would be different, as were in the final version: Ezekiel Toro Toro widow Dona Transit.
There are good reasons for this change has occurred. They are responses to some form of censorship, with all right-by the captain's family, and Arturo took also change the name of the lady, turning the positive unexpected, to honor and recognize his own mother, who bore the name of Transit.
After the prologue the previous step by telling what actually induce me to write these notes. Among the books Alape gave me so generously, is also the short summer of Anarchy: The Life and Death of Durruti (Buenaventura Durruti, the English anarcho born in Leon on July 14, 1897). It is a curious novel writer, poet, essayist and journalist Hans Magnus Enzensberger. As is well known, Enzensberger is one of the most important figures in postwar German thought. In 2002, Spain received the Prince Award of Asturias for Communication and Humanities. An encyclopedic note says: "During the 1968 student movement, Enzensberger called intellectuals to take an active part in Germany's political literacy, an idea which he put into practice in the work of documentary The questioning of Havana, 1970, or the novel The Short Summer of Anarchy: life and death of Durruti, in 1972. "
I was struck by the margin notes I found in that volume of the novel by Enzensberger, since, by the nature of the script, I compared with the dedications of his own hand in the books I had given or sold I figured they were notes of Arthur. The novel consists of comments by the author, excerpts from interviews and recollections of those who knew Durruti and shared with him, one way or another, in the same or different sides, the bloody adventure of a lifetime. The comments are eight to frame or contextualize the facts. Arturo endorsements only go in the first comment, which explains his art Enzensberger narrative, reveals to the reader the method and concepts used for this type of work, and demolishes the way the concept of History, enlightened thinking, those who loving or despising have considered immutable and unique.
The first comment is called History as a collective fiction. Paragraph of this review, for one of the notes on the margins of Arthur, "collage novel," says
"The novel as collage includes reports and speeches, interviews and proclamations, is composed of letters, travel stories, anecdotes, pamphlets, polemics, newspaper reports, autobiography, letters and propaganda leaflets. The discordant nature of the forms is extended through the same materials. Rebuilding is like a puzzle whose pieces do not fit seamlessly. That's precisely in the cracks of the box, where you must stop. Perhaps there resides the truth of speaking without knowing it rapporteurs. " Lines
down, says Enzensberger: "History as a science is born when we became independent of the oral tradition, when they appear the" documents "diplomatic records, treaties, reports and files. But no one remembers the history of historians. Aversion we feel it is irresistible, and it seems insurmountable. All have felt in the hours. For the people the story is and remains a bundle of stories. The story is something you can remember and have time and again: the repetition of a story. In these circumstances, the oral tradition does not shrink from the legend, the triviality or error, so they go together to a concrete representation of the struggles of the past. [...] The Paris Commune, and the assault on the Winter Palace, Danton to the guillotine and Trotsky in Mexico has participated in the popular imagination more than any science in the development of such images. [...] The story is a fabrication, and actually provides the elements of this invention. But it is not an arbitrary invention. The interest is based on the interests of those who have, who can recognize and listen to more precisely define their own interests and those of its enemies. Owe much scientific research that is selfless, but it remains for us an artificial product. [...] Only the true self of the story casts a shadow. And he projects as a collective fiction. "Arturo notes out of this paragraph so laconic:" Rumors. "
Enzensberger continues: "The easiest thing would be the other way and say that every sentence of this book is a document. But these would be empty words. Just look a little closely, fingers apart in the authority that the "document" seems to possess. Who speaks? For what purpose? "In whose interest? What are you trying to hide? How do you convince? How really knows how? How many years have elapsed between the event and the story told today? What the narrator has forgotten? How do you know what it says? Does what he has seen, or what he believes to have seen? Does what someone has told him? These questions take us far, far away, because their defense would force us to each witness, to examine another hundred, each sentence of that review we gradually move away from reconstruction, and we come close to the destruction of history. At the end we would have paid what we had gone to look for. " Then, pointing to Alape margin: "The Storyteller". And in this very short note leaves a message outlines a method, and perhaps belatedly theory identifies something that had been doing since long ago since I compiled the interviews for the writing of The Bogotazo, memories from oblivion, this behemoth of six hundred fifty-three pages which told us that after his writing had left out about twenty thousand documents. And
Alape, applied as a child, makes a final note: "Narrative Structure," compared to what it conveys the author of the short summer of anarchy: "Whoever has this in mind will not make many mistakes in their work reconstructor . He is only the last (or rather, as we shall see, the penultimate) in a long series of stories about something that may have occurred in a way, or perhaps another, rather than through the story has become history. Like all who have preceded him, he too will want to expose and highlight your interest. It is not fair, and intervenes in the narrative, his first action is to choose it and not another story. The interest shown in the search does not aspire to be complete. The narrator has omitted, translated, shortened, and mounted. Inadvertently or deliberately introduced his own fiction in all fiction, except that theirs is right only in so tolerating other reason. The authority must reconstructor to ignorance. He does not know Durruti, has not lived in his time, does not know more than others. Nor has the last word, as the next person that will transform your story, whether to reject it or accept it, to forget or remember, skip or repeat, the next person, last for now is the reader. Also your freedom is limited, because what is not merely "material" casually scattered before it, with absolute objectivity, "untouched by human hands." On the contrary. Everything here is written has passed through many hands and denotes the effects of use. On more than one occasion this novel was also written by people who are not mentioned at the end of the book. The reader is one of them, the last to tell the story. "
At first I suggested that the short relationship with Arturo Alape not allowed Quindío was achieved with the workshops that we indicate how to sort" rumors "memory, for providing us after participating in the wonderful game of narrative literary history. However, it strikes me that the fate of his arrival at Quindío in that Christmas of 2004, imposed a kind of 'objective chance', it was other than to increase, before his death, a sympathy for him that made us look more attention to everything he did and what he said, in this case, use of observations that indicate the thinking of Enzensberger. During the reading of history as collective fiction, listening to myself again the soft voice of Arthur, and felt he was involved somehow in the first lesson of the workshop was not done.
Calarcá, October 31, 2007 +++++
updated:
NTC ... /
gra , November 3, 2008. 7:11 a.m.. Nov. 4, 2008. 12:28 p.m.
