Just as the life of Martin Adam (1908-1985), the travel path of Aloysius Acker editorial is worthy of a Borges story: among some papers and books donated by the poet Alberto Ureta to the National Library, he found a booklet of poems entitled Journey Linear. Among the poems found one called Aloysius Acker. Several critics of the time he devoted a few lines. Shortly after its author, Martin Adam, forbade his inclusion in the anthology of his work preparing José Miguel Oviedo. Since that time, everything about the poem would be marked by mystery and legend. Your author once said she did not remember writing that poem. Hardly a researcher, Ricardo Silva Santistevan, managed to reconstruct fragments. Still, the genesis of the poem remains an enigma. Also, you could add different interpretations linking Aloysius with the death of one of the brothers Adam Martin, with his friendship with Mexican poet Owen, and who suffered emotional situation at that time. As you can see, here too the basic problem concerns the identity, but explored from the periphery of the text. Valid strategy, but insufficient to establish the textual kind of identity problems latent in the poem. We will discuss from this perspective.
Aloysius Acker (fragment)
Acker is born Aloysius
filling the house screaming, the sky! Aloysius
Acker is born! Aloysius
Acker, my brother, brother
more, the little brother!
- For you are feathers all pillows,
and one that does not seem all dreams, and air
all roads
and voices all the verses! [...]
hostile
My identity, my real brother breast
as incapable of the very nature! ...
Oh, cast, unborn, the most tender
zero to muddy immediate star tenderness! ... [...]
father's house will burn "? ... Be leaving the country "? ...
I be a monk in a monastery? ...
"I will accept to be sick, tattooed, bearded, barefoot,
in the last of the yachts? ...
Everything is equal, Aloysius Acker! ... Only you
me are identical! [...]
How will die never having lived,
big brother, little brother! ...
And how your brother Aloysius die Acker,
And how your brother Aloysius die Acker,
me, the big brother, little brother! ...
Not anymore. It is foolish.
We must be alive.
Nothing is beyond our game.
And here we are in life and in death,
between much alive, both dead.
who is not you, not anyone.
who is not you, someone, Aloysius
Acker.
I just walk with you
in the same soil,
in one step.
I just run
you eat with the same hunger, the same dish.
to caress the child
and feel with the other foreign.
The other hates us.
The other has no brother.
The other is the one who gets drunk on Saturday.
The other is the sung mass.
The other is a boy.
The other is an old one.
The other is you and I, if we separate. Aloysius
Acker was born!
In any moment is born!
you who I is identical.
Naces me as the stranger
we love in dreams,
ever met in dreams, which is one
same dreams.
you turn away from me and you like the image in the mirror
.
When you're not myself Aloysius Acker?
expected, partner,
which surprised me, who do not know,
any one for who I am and die.
who is not you is the other, the digger
cemetery
the stenographer, the typist,
which frightens me, who do not fear.
you live is to be taken out of my hand!
I live is to be taking your hand!
Sometimes you loose,
and walk alone through the city and the countryside!
A first look at Acker Aloysius allows us to recognize in him three narrative sequences. The first takes place between the fragments 1, 2, and 3. In them, I reveal the "birth" of Aloysius Acker. It also has a presence Aloysius expected "You're with us," reads one of the verses. Also configured as being very close to me. At various times the self refers to him as a brother. Moreover, in the third passage the phrase "born into me as the unknown, we love in dreams," says a closer. On the other hand, the poem is set in an intimate theatrical space. The lines "filling the house screaming," the parent, the chair, the dog! "And the aforementioned" born into me, "set this space through the concepts home / family / uterus. The second narrative sequence is composed of fragments 4, 5, 6, 7, and 8. In this sequence Aloysius Acker shown fully. Already been born. Also, I go into a game of identity relationships with Aloysius Acker. This game is marked in the lines "I'm not myself. You are me / And you die. And I'm dying "," Only you me are identical. " There are direct dial theatrical space, although the lines denote the same intimate atmosphere of the previous sequence. The third sequence takes place in fractions 9, 10, 11 and 12. In him I was present as a mourner at the death of Aloysius Acker. "The unborn, not begotten, died !...", "Flores, tears, candles," "And for you dog does not cry, / And you do not howl mother, reveal that suffering.
In these sequences, the relationship between the self and Aloysius Acker is transformed in their journey. At first I was different as Aloysius, but, from the passage 3, and in particular, the fragment 6 establishes a recognition of self in Aloysius. And finally, the last sequence, again consider a distance between me and Aloysius. Obviously, Aloysius, in this game of relations of identity, questions the concept personal identity. A question that matches those raised by Paul Ricoeur. Indeed, the book Oneself as Another, Paul Ricoeur poses a double interpretation of the concept of identity. On the one hand, the identity associated with the "same" (idem), and another with the "self" (selfhood). In this process, Ricoeur proposes to release the identity of the party concerned "self" of the opaque part of the "identical." Paul Ricoeur's company is exemplary, it does not intend to use only the deconstruction of "identity" but its true philological reconstruction, demonstrating, persuasively, that word naming (or renaming) the I compared the language has a history not only intricate but procedural, a present, therefore, potentially available. You can only think of identity, he says, from his narrative, that is, from his account of construction and self-reflection. In Ricoeur's words, "without the help of the narrative, the problem of personal identity is condemned to an antinomy with no solution, or presented to a subject identical to itself in the diversity of states, or argues, following Hume and Nietzsche, this identical subject is nothing but an illusion substantial elimination of which shows not only a variety of cognitions, emotions, of volition. The dilemma disappears if the identity understood as meaning the same (ditto), is replaced by the identity understood in the sense of self (ipse), the difference between idem and ipse is none other than the difference between a substantial identity or formal and narrative identity. Selfhood can escape the dilemma of the Same and the Other to the extent that their identity dynamics in a temporary structure on the model of dynamic identity fruit of poetic composition of a narrative text. The self can thus be said refigured by the application configurations reflective narratives. Unlike the abstract identity of the Same, narrative identity, constitutive of ipsiedad can include change, mutability, the cohesion of a life. "
Following Ricoeur, we would say that the narrative transformations of the self with respect to Aloysius is explained through the concept of identity understood as ipsiedad, ie as the ratio change of identity that provides the self with respect to itself, and Aloysius, a manifestation of self. Indeed, from this perspective, Aloysius Acker not an Other, as a psychoanalyst might think, but an extension of the self, by the timestamps that the poem presents its narrative path. Aloysius is no other, because their identity is not abstract, ie unchanged, but transformed, is narrativizations. In this way the game makes sense of identity relations that arise in the poem. A game that is structured around the notion of identity as self. Which, according to Ricoeur, allows reconfiguration of the self and Aloysius in each reading.
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