Acerca de la vida y la obra de Huerta se ha hecho un hermoso libro: Amada inmensa como un violeta de cobalto puro y la palabra clara del deseo. Y del cielo a la tierra, de aquella estrella en alto al dulce ruido de tu pecho, bajan con inefable rapidez y como espuma roja apresurados besos, recios besos, crueles besos de hielo en mi memoria. Las actitudes ante esta crisis son diversas. Suaves voces de amor. Una balada es un poco de tibia espuma es un sereno atardecer salido de la nada. Debo estar vivo, amor, para saberte toda, para beberte toda en un vaso de amor.

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Huerta also met Octavio Paz at the institution, who was one year ahead of him. However, in later life, these two would become distant as their political views diverged. He was an involved father, especially with his two daughters, taking them to the movies, to the Zaplana bookstore, Super Leche known for its hamburgers and bottles of milk and El Moro for churros and hot chocolate, all along San Juan de Letran.

With this family, he lived in Polanco, where he wandering would take him to nearby cafes and restaurants. Here Huerta told crocodile stories, saying that we all have a crocodile in us.

Although he survived the cancer, it left him mostly voiceless, recuperating some of his ability to speak with the help of speech therapy. He is buried in Xochitepec.

His first book was Absoluto amor Absolute love , published in , but very few copies remain. This success convinced Huerta to dedicate himself full-time to poetry, politics and journalism. In this volume his first works using Mexico City as a subject appears. In , he published Los poemas de viaje, works inspired by his travels to the United States, the Soviet Union and Eastern Europe and his observation of social and political issues. It also contains poems about his new son, David, written while he was in Czechoslovakia.

In the same year, he published Estella en alto, a mix of love poems with those with political topics. One of these is the concept of dawn alba , with the idea of faint light bringing clarity. Political and social themes are another, marked both by his militancy and the occurrence of major wars and other conflicts which occurred during his lifetime.

The last important theme is that of Mexico City, especially in his later work. In his verses, the Mexican capital becomes a collective which he aims to portray. Other publications include Nosotros and Cinema Reporter, with many columns published under pseudonyms.

Rafael was originally the director but in , Octavio Paz took over, shorting the name to Taller and expanding the format to include short stories, essays, critiques and other article. This revamped magazine ran until His association with Taller was formative for Huerta and others in part because Paz brought in the work of Spanish writers as well. However, there was a falling out between Paz and Huerta, and Huerta left suddenly for unknown reasons.

That same year he began collaborating with the Close up de nuestro cine section of the Revista Mexicana de Cultura, part of El Nacional, writing about Mexican popular cinema of the time. From to , he edited a literary magazine called Cuadernos del Cocodrilo Notebooks of the Crocodile , doing the illustrations.

They were not published until much later, and when they were, they became popular with children. His time in the Communist Party was his most militant, but it was short-lived because in the s, the Party went into crisis, with membership divided into those who supported Trotsky vs. Huerta remained communist and a Stalin loyalist through the rest of his life, despite being aware of the atrocities of the regime.

In , he was named the secretary general of the Consejo Nacional de Partidarios de la Paz. Under this charge he traveled to the Soviet Union, Czechoslovakia and Hungary. He was denied a US visa in for being a member of a communist sympathizing organization. In his work was censored in Brazil, and his support for the Sandinistas in Nicaragua resulted in his ban from the country, under penalty of death. According to his daughter Raquel Huerta Nava, it was because it pained him too much and because some of his children were involved.


Efraín Huerta: 25 venenosos poemínimos para recordarlo



‘Estampida de poemínimos’, de Efraín Huerta (1914 – 1982)



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