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How to kill the dead?

How to kill the dead?

Everything was ten, while also knew he was ten. But two weeks ago I've been playing the floor of the depression, "now is the old" almost nearly killed me.

True that about six months since we talked, I chose not to follow his game, not what he wanted me to be: a hobby, those who are content with crumbs of time, he could only see it when he could.

But now everything changed, the pride went down the garbage, when just over three weeks I got the news that he was interned in Santa Fe, on a ventilator fighting between staying here or leaving.

Ok, I admit that several times I said that to me was dead, but not the same "dead-believe" where there is still some hope that the situation will change, that "really dead" where the story ends, no You can change or say or do anything else.

I am very sad, indeed, I feel helpless, I can not go see him, because I have no "right", I am nothing, and here I identify with my beloved Evita, trying to be legitimate, when in fact I'm badly kept secret, the other, the imposter .... rather "nothing", "NO" which is worse.

From the corner of my room I hope news of his health, unable to even approach the door of the hospital.

What is worse, and what makes me sadder, is that a week ago they removed the respirator, able to speak and the first thing he asked was that he carried his "baby" who was taken urgently, but could not enter the room therapy for their age.

And your other daughter? The other? ... "She who from her room, it's on the phone waiting for news of him? ...

I ask you think of me?, Imagine that in the solitude of his hospital bed will have plenty of time to think, I think that sometime my name will go through your head, Do you know anyone?. Almost

almost died, he who was always dominated, "a pollerudo" and never could do anything he wanted, he was dying without being able to "Being" and "doing."

Several times, when I thought our story, my story without it, I remember that book by Gabriel García Marquez "Love in the Time of Cholera" in which Florentino Ariza could only be with Fermina Daza when her husband died, I'll have to wait for "her" die for my father comes to show the world as his daughter. She is not left, prohibits, it threatens to take "the baby" if you come after me.

LIES !!!... only to feel someone, if he really would come to me and face everybody.

Viejo, do not die now, even I have things to say.

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Farewell to a great

On January 10 Argentinos 2011, we awoke to sad news, he would gone forever María Elena Walsh, a large literature infa ntil. But his work did not go with it, his legacy will no doubt forever hands of children with his stories begin to enter the wonderful world of reading and adults who saw his childhood was marked by the world reversed, and the cow Manuelita scholar among others. Maria Elena Walsh was born on 1 February 1930, Ramos Mejía, a town near Buenos Aires. aspiring self-described "granddaughter of Lewis Carroll." One of the salient features of his work is its attention to elements ideological context. This is evident in the proposed subversion songs and children's stories. This also happens in ensayosy newspaper articles in which problematizes contextual elements whose presence is widely known and recognized but have a lurid tinge. So it with issues such as machismo ("Know why you are male), social parameters double (" Corruption of minors? "), Culture and reading (" Children and bibliofobia "). In é í Ongan little of Maria Elena Walsh í room to sing by Alusi or na nya Per or the situation or socio-economic n or mica which crossed the t pa s. At that time, not vetoed, the implications would have been extremely cumbersome. Process The time was not, in this respect, very different: María Elena Walsh denounced the atrocities and abuses, questioned the repressive regime and ideology. Write in itself represented a challenge. As she herself ñ wing, the basis of its existence is reading and writing, writing is more to s to communicate, awareness involves both the freedom í s same . Thinking about these issues we can understand "Misadventures in the Pa s Jard í í n-of-Birth." This essay appeared in the newspaper or Clarín 16 August 1976 and was published "without censorship, to the surprise of the same author . H ace time we are like children and we can not say what we think or imagine. disappears when the censor succumb because once demolished by a highway! we are decrepit and not knowing what to say. Have we forgotten how where and when and we'll sit in a place like the couple of old men of drawing Quino who wondered: "Why were we ...?" (...) Yes, the undersigned are concerned about children, but never thought I would live in a Country -Jardín de Infantes. Less imagined that this country could come to resemble dangerously Franco's Spain, if we fixer their caretakers. This sad Spain where he had to submit to prior censorship of lyrics, as it is today and no complaint here, where the dubbing of films became to lovers brothers, grotesquely legalizing incest. That the authorities have waged a bitter war against subversion and seek maintain social peace are widely acknowledged facts. It would be unfair set ourselves up to our censors time of a task knowing that we are intricate and we are beneficiaries. But that does not justify the survivors honored chaos we enclose in a convent school preconciliar threatened falling in penance at any time and without knowing why. María Elena Walsh This, involve or expl a complaint against the appointment t r é authoritarian and oppressive regime of military junta. A writer, a woman who is known to extensively í but its musical and has í stica child, complained that many were silent. María Elena Walsh I assumed í to the representation thus or ideological n gium and verbal or Village Argentina in a time when silence, anonymity and ambiguity ü age meant survival. The fallout was immediate: his whole work was censored, but not the "disappeared," like many other journalists. Gagged by the censorship imposed by the military dictatorship, in July 1978 , in full World Cup decided "no follow compose or sing in public anymore. " At that time also stopped singing in public. His songs, says Alicia Dujovne, were and are closely linked to the reality, they needed to "live exchange and total freedom to lie to walk. "Process in Argentina, which ruled fear and silence this requirement was impossible, as for Maria Elena Walsh singing. However, in a way he kept on singing. Songs composed years before or a different design theme, such as "Serenade for one's land," "As the cicada" and "Prayer for Justice" were taken by dissident groups as a way to express your questioning. Over time the songs acquired particular significance, possibly because the public just attended and understood the message, taking these popular national anthem, thus representing the true voice of Argentina. To conclude, a videito, which accounts for some of the best known songs

This is my small tribute to a great one. I remember that very small learning reading singing songs like "cow studious" invitation to tea "or" the world upside down. "

A woman who was, but is still here, and no end to march ever.

In this post I chose to further its work as a writer committed to social, its part of life perhaps less well known.

But his biography is extensive and not wasted.

As always a little thread that shot to keep researching and knowing important personalities left marking a piece of history.