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Presentación De Powerpoint Nick Cave nació en Australia en 1957. Se mudó a Londres con su grupo The Birthday Party in 1980. Cuatro años más tarde formó The Bad Seeds, banda con la que ha grabado diecisiete álbumes en estudio. En 1999 aceptó el encargo para asumir el comisariado del Meltdown Festival en el South Bank Centre de Londres. Sus novelas Y el asno vio al ángel (Pre-Textos, 1990) y La muerte de Bunny Munro (Papel de liar, 2009), así como el poemario Canción de la bolsa para el mareo (Sexto Piso, 2016) fueron muy bien acogidas por el grueso de la crítica literaria internacional. El largometraje de Cave The Proposition cosechó, a su vez, gran aclamación en 2005, y no le faltó tiempo para firmar otros trabajos con Grinderman. Nick Cave vive en el sur de Inglaterra. A tres ediciones en su lengua vernácula (The Complete Lyrics, Penguin 2001, 2007 y 2019) hubo que aguardar para que, por fin, viera la luz, por vez primera, la traducción, en edición bilingüe, de la obra lírica completa del cantante, pianista, compositor y escritor australiano. Nick Cave: Letras. Obra lírica completa 1078-2019 contiene todos los versos compuestos, a lo largo de más de cuatro azarosas décadas, por un maestro cantor cuyos lamentos siguen asomando, sin remedio, al filo de la desesperación y cantan al más irremisible de los desconsuelos; urdiendo, en tan lacerante y sadomasoquista empeño, una obra poética que se cuenta entre las más celebradas aportaciones a la balada anglosajona —sin perjuicio de otros tantos desvaríos practicados a lomos del rock, la música de vodevil, el blues, los salmos y otras ocurrentes hibridaciones— a lo largo del período aquí comprendido; dándose cita para tamaña ocasión, a través del apasionado filtro de sus vivencias, todas las recurrentes obsesiones que pueblan su obra poética y discográfica. Desde sus canciones para The Birthday Party, hasta sus más aclamados álbumes — Murder Ballads, Henry’s Dream y Dig, Lazarus, Dig!!! y también su último trabajo, Ghosteen (2019)—, Nick Cave: Letras constituye un largo viaje por los escenarios de la singladura artística del cantautor. Las razones de tan feliz exhumación traen de causa de algún que otro encontronazo con la igualmente recomendable obra en prosa del autor —Y el asno vio al ángel (Pre-Textos, 2005), La muerte de Bunny Munro (Papel de liar, 2009)— y de una indeleble ristra de inolvidables conciertos cuya hipnótica huella obligaba a indagar en las raíces de aquella conversión tardía. El sentido prefacio de Andrew O’Hagan, el no menos aleccionador prólogo de Will Self y la brillante conferencia que preceden al propio cancionero –—pronunciada por el propio Cave en el South Bank Centre de Londres, en 1999— y que lleva por título La vida secreta de la Canción de Amor, brindan al incauto lector, a modo de introducción, dos pinceladas iniciáticas de gran utilidad para furtivamente adentrarse en la densa maraña en la que se entreveran préstamos, citas, parodias, alusiones, expropiaciones y leyendas que el cantante maneja a su antojo e iluminan los aspectos menos patentes de su obra, así como para otear en sus contornos, en esta suerte de apresurada autoexégesis, la cartografía del casi inabarcable imaginario alumbrado por sus versos. ©Getty Images «No se me alcanza ningún otro letrista cuyos versos posean la virtud de transportarte a lugares tan lejanos, ni recuerdo tampoco haber dado jamás con otro trovador que hurgue con semejante hondura en nuestras entrañas. Durante cuarenta años, su remembranza de lo sublime, la evocación de lo inalcanzable, el ardor, la locura, el azar y la fatalidad de lo imprevisible han hecho trizas todos los manidos clichés, habidos y por haber —en materia roquera—, cuando sobre ars amatoria versa el asunto. [...] Chúpense esa sus reverendísimas eminencias Cole Porter y Jacques Brel.» Andrew O’Hagan «Brevemente, sobre el erotismo y la atroz aflicción que comporta saber no solo que toda pasión se apaga, sino también que eres ya tierra quemada, sería un craso error tipificar a Cave como un letrista de desazón, sangre y vísceras. Cave se yergue como uno de los grandes escritores de amor de nuestra era. Cada una de sus canciones está perfumada de anhelo y apesta ya a putrefacción de pérdida inminente. Para Cave, la consumación es siempre exactamente eso.» Will Self «Aunque la Canción de Amor se manifiesta de muchas y muy variopintas formas — canciones de exaltación y alabanza, de rabia y desesperación, eróticas, de abandono y pérdida— en todas ellas se invoca al Creador, pues es en la embrujadora premisa del anhelo donde la verdadera Canción de Amor habita. Es un aullido en el vacío que clama al cielo amor y consuelo, y pervive en los labios del niño que llora a su madre. Es la canción del amante que se desespera por su ser querido, el delirio del lunático suplicante invocando a su dios. Es el desgarrador lamento del que, encadenado a la tierra, anhela alzar el vuelo, el vuelo hacia la inspiración, la imaginación y la divinidad. »La Canción de Amor sería, por tanto, la materialización de nuestros vanos esfuerzos por convertirnos en seres divinos, para elevarnos por encima de lo terrenal y de lo banal. Creo que la Canción de Amor es, por definición —y por antonomasia—, la canción de la tristeza, el sonido verdadero de la pena.» «En su brillante conferencia titulada Juego y teoría del duende, Federico García Lorca se apresta a esbozar una plausible explicación sobre la extraña e inexplicable tristeza que anida en el corazón de ciertas obras de arte. “Todo lo que tiene sonidos oscuros tiene duende”, para, acto seguido, añadir, “ese misterioso poder que todos sienten, pero el filósofo no puede explicar”. En la música rock contemporánea, inframundo en el que me gano el sustento, la música parece menos inclinada a cobijar en su alma, inquieta y temerosa, la tristeza de la que nos habla Lorca.» «[…] mi vida artística se ha centrado en el deseo o, más concretamente, en el afán por articular la crónica de los diversos sentimientos de pérdida y los nunca saciados anhelos que han ululado a través de mis huesos y hervido también en mi sangre a lo largo de toda mi vida. En el decurso de ese trovadoresco tránsito habré escrito alrededor de 200 canciones, la mayor parte de las cuales diría que son Canciones de Amor. Canciones de Amor y, por lo tanto, según mi definición, canciones inspiradas en —y por— la tristeza. […] La mayoría de ellas hunde sus raíces en la experiencia personal directa y fueron concebidas por un sinfín de muy variadas razones, pero estas Canciones de Amor son, en última instancia, lo mismo: destellos de vida proyectados al firmamento a discreción por un hombre ahogándose. He aquí, damas y caballeros, un ejemplo más. LOVE LETTER [Del álbum NO MORE CARTA DE AMOR SHALL WE PART, 2001] Sostengo esta carta en la mano I hold this letter in my hand Una súplica, una petición, como un rezo A plea, a petition, a kind of prayer Ojalá cumpla con mis deseos I hope it does as I have planned No podría soportar perderla una vez más Losing her again is more than I can bear Beso el sobre frío y blanco I kiss the cold, white envelope Presiono los labios sobre su nombre I press my lips against her name Doscientas palabras. Vivimos de esperanza Two hundred words. We live in hope Se cierne el cielo, cargado de lluvia The sky hangs heavy with rain Carta de Amor Carta de Amor Love Letter Love Letter Ve a por ella Ve a por ella Go get her Go get her Carta de Amor Carta de Amor Love Letter Love Letter Ve y cuéntale Ve y cuéntale Go tell her Go tell her Un viento avieso azota la loma A wicked wind whips up the hill Un puñado de palabras esperanzadas A handful of hopeful words La quiero y siempre la querré I love her and I always will El cielo está por estallar The sky is ready to burst Dije algo sin querer Said something I did not mean to say Dije algo sin querer Said something I did not mean to say Dije algo sin querer Said something I did not mean to say Y salió todo del revés It all came out the wrong way Carta de Amor Carta de Amor Love Letter Love Letter Ve a por ella Ve a por ella Go get her Go get her Carta de Amor Carta de Amor Love Letter Love Letter Ve y cuéntale Ve y cuéntale Go tell her Go tell her Lluéveme besos encima Rain your kisses down upon me Lluéveme besos a cántaros Rain your kisses down in storms Y por todas las que vendrán ante mí And for all who’ll come before me En tus formas evanescentes In your slowly fading forms Se me está yendo la cabeza I’m going out of my mind Me quedaré de pie, parado Will leave me standing in En la lluvia con la carta y el rezo The rain with a letter and a prayer Susurrado en el viento Whispered on the wind Vuelve conmigo Come back to me Vuelve conmigo Come back to me Oh, nena, vuelve por favor O baby please come back to me ©Getty Images «Las letras de sus canciones versan sobre todo cuanto encierra la pasión más allá de la cordura, versos en los que se vierten las truculentas andanzas de ilustres predicadores al borde del delirio, amantes de muy sombríos corazones afligidos por el martirio de la desdicha y por no menos venerables asesinos. Su lenguaje es rico, poético, apocalíptico...» The Guardian «Al desnudo, la poesía de Cave esboza, acaso con mayor dramatismo, si cabe, la principal causa de su profundo pesar: la infatigable búsqueda del bardo en pos de su elusiva verdad.
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