La larga risa de todos estos años: Efectos del núcleo metapoético en la antipoesía de Nicanor Parra

Abstract

Using notions of the metaliterary and poetic theory, this essay states, 65 years from the first publication of the poetry book Poemas y antipoemas (1954), that antipoetry as a project of a single author would not only be constantly speaking about a way to enunciate poetry, but also about how to achieve that place of enunciation. Another way to see it: in a not so explicit form, under the humoristic and colloquial speech of the antipoetry, there is a metadiscourse in a latent state, a way to confront poetry with poetry. In fact, as some other critics have said, in the work of Parra there is an approach in postmodern key to the crisis of representation of the proper literature of the 20th century, but in the possibility of a major project, the author realized soon that if he transgressed the rhetoric of certain kind of poetry, the polysemy of the literary text will have been barely reduced. This, that has been known as desacralization of the poetic language and the actual exercise of poetry, at first functions as an expressive antipoetic device in Parra, but then it comes back to its axis where the entire proposal pivots: a dark school teacher capable of inventing nota literary language but a movement of Neo-avantgarde that covers plastic works, translation and the everyday anecdote. Either as nuisance, direct attack, a joke, a plastic artifact or a popular song, Parra seems to confirm the hard nucleus of antipoetry: it is, above all, bitter and recursive metapoetry in which humor acts
only as an access door.