154 Shakespearean Sonnets

A Portrait of The Dark Lady

When I read Shakespeare Sonnets, I feel as if he actually talks to me in front of me. Unlike his theather plays (pure drama) and other works, I experience an intimate relationship with the poet and quite understand his feelings to the fullest expression of his verses. Perhaps, the passion and love expressed in some of his verses are consolidated into a trigger for inspiration as if, in fact, it conveyed my feelings for someone especial.
Shakespeare has certainly touched my sensibility to read poetry. He is quite visual and even kinesthetic in his writing. The rythm in his sonnets is the rythm of British life, yesterday and today. I have selected a series of sonnets excerpts to look at from his collection and how they inspired me.
The average Shakespeare reader has probably done a much better job than I have. Except for my reading of his Sonnets, his extended and dramatic work remains a complicated or rather neglected reading task for me, with many incomplete attempts to understanding it from different, various perspectives. Yet his categories are clear: romance, honor, ethics, and various others of social living and values where friendship and love are to be exalted from his dramatic context. But his poetry is more personal and kinesthetic, powerfully driving a reading-like-a-writer drill into a comprehensive reverie of love and passion. This means that the reader lives the poetry, the story within the poem, and the feelings associated with each verse's rhyme and rhythm sometimes arguably being closer to a free verse (verso libre) than to perfect metrics.

Reading the first verse in one of Shakespeare's sonnets is like starting a new clean conversation with your loved one, whether in person, via email, or by text, it hinders a sense of clarity that opens up a new reverie in the daydreaming paradise, although few critics do believe in that the sonnets have some autobiographical value. In particular, I personally believe that some on ethics and business, such as, on usury and loans, could well be related to Shakespeare's real life. Indeed, some Shakespearean verses were dedicated to Southhampton, the patron of about twenty of them.

As I look for a real life or existentialist driver or trigger in Shakespeare Sonnets' hidden messages, I encountered the perceived paradox that many characters in need of love reject that of others who have an enormous need to love them, and you can refer to the frequent love and hate contrast in many of them. A similar but far more complex analogy could be made with entities like music itself. The first 126 poems related the romantic relationship between the young and the poet, while the rest through poem 154 focus on the Dark Lady. Certain poems numbered in the 80's and 90's involve the so called Rival Poet , who according to some experts, was Barnabe Barnes or one among Daniel, Drayton, Marlowe, Nash amd Spenser. The sonnets were dedicated to W.H., most likely William Herbert, Earl of Pembroke. Surprisingly, the Sonnets were published without Shakespeare's consent by Thomas Thorpe in 1609.

Thus, while the Shakespearean sonnets are not necessarily like his Romeo and Julieth, the paradox is expressed through some pre-determined or even pre-established intrigue among them through so many scenarios presented. The sonnets have a sense of metric imperfection, as it the poet had purposedly neglected it, and there is significant pessimism, contrasting feelings of love and hate, in content and style. Besides, indeed, the criteria through which love is presented in his Sonnets is not perfect either, but rather deeply passional and methodically organized like a small piece of condensed drama.

SELECTED SONNETS

P.S. To me Shakespeare is not only the greatest British literary figure, but also a blessed man and a holy soul.

On Eugene Ionesco and the New French Theatre

Ionesco and the New French Theater (Nouveau Théâtre)

In 1984, le Théatre du Triangle de Paris gave a magnificent presentation of Ionesco's Le Roi se Meurt at Teatro Amira de la Rosa in Barranquilla, Colombia, then under the direction of Alfredo Gomez-Zureck and with the attendance of the city's large French and Francophone community. Le Roi se Meurt had first been played in Paris at the Théâtre de l'Alliance Française on December 15, 1962, by Jacques Mauclair, in which the king expresses his fear of death, some sort of existentialist anguish (angoisse métaphysique).  A couple of weeks ago, after attending a double comedy presentation by Georges Feydeau through the French and Italian Department at Princeton University on the Whitman College campus, I learned that they had recently presented Le Roi se Meurt there as well.


Interestingly enough, born in Romania, lived his early age in France while his father studied law in Paris. After returning to Romania for most of his adosescence, Ionesco was then subject to an unlearning, learning, and relearning process upon his return to France. This compehensive linguistic process allows him to express his concern that he does not only writes literature but true theater, meaning that his text has a specific expression and representation in each scene context. Therefore, his characters are vivid and remarkably well delineated. Ionesco was always criticized one way or the other but never ignored by the literary critic of his time until his final success.

Unlike Racine, Moliere or Corneille, Ionesco owns a prohibited way to impress his audience and touch the sensitivity not only by words but also by the expression vividly deter,ined through his scenes, context, and content. This was especially part of the Nouveau Théâtre started around 1953-1954.

Ionesco reflects his inspiring own fear of death in the Roi se Meurt

Ionesco had looked at Camus and Sartre for inspiration, yet he imposes his creativity beyond La Peste and La Nausée, conceptually an existentialist view of a rotten apple society, perhaps, with a surreal taste. Other explicit images of Ionesco's theater involve politics and violence. An analytic study of his works suggests that intrigue among characters is both a key trigger and driver among those well-defined characters.

Other important works by Ionesco include La cantatrice Chauve, L'Impromptu de l'Alma, Jack ou la Soumission, La Soif et La Faim, La Leçon, La Nièce Épouse, and Victimes du Devoir.

The "Chronicle" Character Case

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García Márquez Wins Case on Copyright of
Chronicle of a Death Foretold

The 1982 Nobel Prize in literature, Colombian writer Gabriel García Márquez, has recently won a case for his copyright on his Chronicle of a Death Foretold (Crónica de una Muerte Anunciada). The complaint had been filed by the real-life character, an insurance man, matching that of Bayardo San Román in that novel. García Márquez had suggested that there was a Leit Motif that inspired him and that was simply that the central mechanism is the story of the man who returned his wife to her parents on the same wedding night after finding that she was not a virgen. He added that except for the dramatic context, the rest of the story is fiction (false), created by him, and that all characters are fictitious and have no match in real life.

The Superior Court of Barranquilla (Tribunal Supremo de Barranquilla) did not find any reasons to honor any of the several plaintiff's claims on copyright, invasion or privacy, and other honor related issues such as damage to his reputation, as filed.

Beyond his Chronicle, García Márquez is most notably recognized for his One Hundred Years of Solitude, and The Autumn of the Patriarch (El Otoño del Patriarca), a rather poetic and complex narration of a Latin American dictator's fall.

As per my literature teachers of various European origins, most notably Spaniards and French, around 1982 García Márquez had been awarded the Nobel Prize in literature solely for his materpiece One Hundred Years of Solitude. This theory was probably supported by biographer Jacques Gillard whom I met around that time at the Alliance Française de Barranquilla. An opinion that contradicted the native Latin American literature critics who considered him a Nobel Prize winner based on his comprehensive works, including novels, short stories, essays, and movie scripts. The former vision suggested that until 1982 every other work was simply an extension to his materpiece while the latter considered it to be a comprehensive work in process, which has continued to grow to today's date.

The Creation of the Meta-Psychological Gender

Announcing the Publication of my Second Book:
El Retrato del Fantasma

After several years of reorganization, I have put together my short story book in Spanish, The Portrait of the Ghost (El Retrato del Fantasma). The book includes a collection of my best twelve short stories, written in Barranquilla, Colombia, and a selection of four of my short stories written in the United States, most of them in Montclair and East Brunswick, New Jersey. So, there are about 16 short stories in the book, and over 250 pages. The book had been copyrighted in the US Library of Congress as Con Los Dedos en la Cabeza (El Retrato del Fantasma), where the former main title that refers to a lost family short story and a meditation drill, and recalls an unrelated French movie.

The book combines fiction and non-fiction events and real and surreal characters. The book is dedicated to the memory of my granfather Hermenegildo, in the picture atop, whose portrait inspired my best short story during my late teen years, the winner of the 1982 national literary short story prize at Universidad de Cartagena. The short story was published in the literary page of Diario del Caribe by La Esquina, a literary group that served me as a motivation to pursue my literary career. When the short story was published then, it contained a special header referring to what I called the meta-psychological short story genre (el cuento meta-psychológico), meaning a combination of the psychological short story gender with paranormal (metaphysical) events.

The book will be published in the first half of 2012.

My only novel attempt in Spanish was entitled La Casa Sola, a literary work that I abandoned several years ago. For the future, I could probably attempt to write my first novel in French, as I get used to writing in that language and dreaming of living in Paris.

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Rescuing my Early Works (III)

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My Early Poetry

The following poems appear in my book Alma Mater I. They are the most valuable treasure of my young literary works, since -unlike my short stories- they recount real events. While some of my short stories are actually based on true events, they convey more fiction that true facts in fond and explicit content. Some poems needed to be edited or were enhanced since some of the pages in the poem as originally written were missing, I reconstructed them as I recalled them, to the best of my ability.

An important poem that was not included in Alma Mater I praise the sea while chanting a love stories. The poem is entitled LA MAR (The Sea), called so as a female, like many Gallegos do in Spain.

LA MAR

La mar me ama
con sus besos
que vienen y
se van con la resaca
es intermitente
como el amor
de una mujer.

La Adoradora (The Adorer) was a poem written while attending law school and possibly while studying overnight with several classmates. Since I attended both the engineering and law school at the same time for at least two and a half years, this was a strategy to extend the exam preparation time. While I was a perfect A student in my first two engineering semesters, the concurrency of school work took a toll on my engineering GPA, especially on unrelated subjects, while I still remain a good law student, and outstanding in some subjects such as economics and philosophy and logic. Upon completing my engineering degree, I attempted to restart my legal studies in Bogotá, but had actually applied to start an MS in Statistics at Universidad de La Salle, when I learned that my US immigration visa had arrived. 

Some other poems part of Alma Mater I were written in Bogotá, probably in El Salitre, a park that I used to visit with my girlfriends, but most likely I was alone when I wrote them. I called them Poemas Capitalinos (Poems from the Capital), and once sent them to Diario del Caribe, but I do not whether they were ever published.  Some of these poems might have been written in La Castellana sector in Bogotá, just across from the theater by the same name, at the time when President Andrés Pastrana, used to be Mayor of Bogotá and had visited that place.

Those poems appear in the book under the sub-collection Versos Capitalinos (Verses from the Capital). Another important sub-collection is called Poemas de Perfección y Encanto (Poems of Perfection and Enchantment), most of which survived my immigration to the United States, and thus appear in my book.

Other collections narrate my experience in school and some romantic stories with a sense of reality and mystique. I condensed these poems with other poems written in English and French, and named them in Latin, Alma Mater I, hoping that there will be other subsequent collections.

As the 2011 Nobel Prize in literature was given to a poet, namely, Sweden's most notable living poet, Tomas Tranströmer, all poets who published a work during this year should also feel like true winners.

The Pablo Neruda's Death Case

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The Neruda Case in Aragon's Verses

At he moment when I was reading an autographed copy of French poet Luis Aragon's book Le Nouveau Crève-Cœur, an inquest on Neruda's death was opened. The book contains the brief collection The Romancero de Pablo Neruda, and among them the multi-part poem La Complainte de Pablo Neruda, that provides various hints and an insight about the political scenario surrounding the Nobel Prize winner.

According to Associated Press (AP), Chile is to investigate whether Augusto Pinochet's regime murdered the Nobel prize-winning poet Pablo Neruda after it seized power in a bloody 1973 coup.

Judge Mario Carroza is set to examine claims that Pinochet's agents injected poison into Neruda's stomach at the tim he was being treated in Santiago's Santa Maria clinic for prostate cancer, which until now is said to be the cause the heart failure of the revered Nobel laureate.

Chilean plural left demanded an inquest after Neruda's former driver, Manuel Araya, stated that Pinochet henchmen injected the 69-year-old on 23 September 1973, the day when he died, just 12 days after the military coup, and shortly after the poet had written an article excoriating the military regime and defending his friend Salvador Allende, the socialist president who died during the coup.

On the other hand, the Neruda Foundation, administering Neruda's estate, has rejected the poisoning theory and stated that the author of Twenty Poems of Love and a Song of Despair was gravely ill.

The Chilean Communist party said however that other Neruda staff had confirmed the driver's suspicion and that former Mexico's ambassador to Chile, Gonzalo Martínez Corbalá, apparently encountered Neruda in good form less than 24 hours before his death.  Similarly, six people, including Pinochet agents, allegedly poisoned a former president, Eduardo Frei, in the same clinic in 1981. They were charged last year in connection with his death. Neruda and Frei are among 725 possible murder cases from the "dirty war". Recently, Allende's remains were exhumed for a forensic examination to determine whether he really shot himself with an AK-47, the official version, as troops closed in on the palace.

Aragon's collection, and in particular his poem La Complainte de Pablo Neruda, offers a clear perspective on the political turmoil lived by the poet, who then had to seek political asylum several times.

As I read other Aragon's historic poems in this book recounting his visions from World War II, I also recalled some of the poems by Whitman (Leaves of Grass) on the American civil war. While the former are visual but focused on the poet's inner feelings, the latter are more graphical and centered in the feelings of those who suffered the war violence.

While Neruda was clearly potically aligned with Aragon, he wrote mostly love poetry. Only his book Confieso que he vivido probably had a clear autobiographic leit motif. Neruda is considered by the global literary critic as one of the greatest poets of all time in all languages.

Some interpretations of Aragon's poem by Jean Ferrat can be found at:

http://www.paroles2chansons.com/paroles-jean-ferrat/paroles-complainte-de-pablo-neruda.html

http://culture-club.skynetblogs.be/archive/2010/05/12/la-complainte-de-pablo-neruda-jean-ferrat.html

http://www.musikiwi.com/paroles/jean-ferrat-complainte,pablo-neruda,20588.html

..and who do they say I am?

...and who do you say I am?

When Jesus needed to be identified as the Messiah, the Son of God, the Bible suggests that he repeatedly ask his disciples and people Het met, including the Samaritan woman, who they thought he was. In John 14:6, he explicitly states: "I am the way, the truth, and the life. No one goes to the Father except through me. He also states explicitly “he who believes in me will not die forever, but rather have eternal life.”

While neither the Bible nor any esoteric writing explicitly discusses anyone else impersonating Jesus at his time, it is clear that Jesus himself thought he was either misidentified or confused with someone else, in particular, with John the Baptist, as mentioned by some of his disciples.

The biblical passages mentioned here are quite relevant to today's identity theft crisis. While people can be impersonated by look-alikes or confounded with others on the look, the idea of impostoring or impersonating someone else in literature is widely presented in various master pieces. I will refer to this topic more in detail in one of my next writings. I actually won an important literary prize to several senior writers of the time with my short story “That Obscene Character called María”, in which María is actually impersonated by Gertrudis, the false María.

However, when it comes to Jesus, this is a unique character that provides ideal value to Christianity, Catholicism, and the entire nation accepting Jesus as the Messiah.  Besides, in spite of the many miracles that many witnessed from Jesus, his resurrection is crucial to everyone's expectations on salvation, as described by the Apostle Paul. Those who believe in and expect on Him, will not die, but live forever.

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My 2010 Readings: Lenoir, Kant, and the Latin Americans

L'Oracle della Luna
and the Value of
Historic Religious Novels

Yesterday was the day signaled by some living Christian prophets and Bible teachers as the judgment day or the day that would mark the end of the world, based on their interpretation of the biblical scriptures. A few weeks ago, I visited the New York Public Library next to Bryant Park, at 42^nd Street at Fifth Avenue, to donate a copy of my book Alma Mater I. I then encountered an on-going event called Three Faiths, related to Christian, Jewish, and Muslim faiths. The exhibition was quite interesting as I got the chance to see original biblical documents such as scrolls, polyglot bibles, and learned about impressive religious art, where I can recall colorful bibles with gold ornaments, Egyptian Coptic crosses and bibles magnificently decorated, Ethiopian bibles and documents, and Muslim and Hebrew scrolls of great historic value. Historic religious books on the other hand have become more popular, as much as there are more historic religious movies, either to somehow criticize or convey a message to individuals or entities involved, usually for good.

Like in America, in France, there are many writers, and very few will become well-know world-wide. I had personally briefly met writers such as the former Colombian Ambassador Pierre de Boisdesffre (author of Histoire de la Littérature Française), Jacques Gillard, a well-know critic of García Márquez, and Dominique Lapierre, then a young French novelist. A few months ago, I was greatly impressed by one of my 2010 readings: L'Oracle della Luna, a novel by French novelist Fredéric Lenoir, whose title reflects the syntax of the relevant time. The novel narrates the tragic life of Giovanni Trattore, a peasant and then an initiated monk, and his love for Elena, his disgraceful marriage to a Jewish woman, and the changes he undergoes after he kills in self-defense, for love, and is condemned to death by fire. The story develops in XVI century era, over several parts of the world, including Europe (Venice), North Africa (Algeria and Chipre), and the Middle East (Jerusalem). The story overlaps with the presentation of scrolls and somewhat encrypted messages that attempt to describe the astral chart of Jesus, focusing on the straight alignment of the moon, the sun, the earth, and all planets in the solar system known until then. Giovanni Trattore sees himself as the carrier of a secret message. This astral view is considered a heresy within the book, and only five of the scroll messages are revealed, leaving the reader with the intreague about the message in the other two.noir is the author of about 30 books some of them with in conjunction with other Christian Catholic writers and philosphers. However, he has converted to the Tibetan Buddhism, in my opinion a way to search futher spirituality and a pragmatic method to attain a higher stage of the mind and the spirity, in contrast, to our Western perception of spiritual growth and belief. L'Oracle della Luna certainly shows his great belief in Jesus, and contemplates the overlapping astronomical events, including the revelation of the new messenger of the time, Martin Luther, around the year 1484, who is described in contrast by monks and priests as a “personnage altier et grossier”. The narrator also suggests in relation to the Prophet Mohammed that indeed he encourages Muslims against Christians, which is not really accounted for in detail. And Muslims in the area disagree with this point of view. My only reading of the Koran occurred at 14, on one or two days when I visited the Normal School Library in Barranquilla, where I encountered a copy, which I read in great portion. It seemed to me just a book of worship, with a style close to that of the Psalms. When I visited the Three Faiths exhibition, I got the chance to see various copies of the Koran, mostly, historic ones in its original language. While Giovanni Trattore's story is the central story, the leit motif is still relevant to the Oracle of the Moon, in relation to Jesus astral chart. Also, the narrator gives the moon as special meaning as an earth satellite.

While I am deeply Catholic, and this is a core value of my education and spirituality, I thought that the message is interesting in the sense that the author seeks to provide a historic explanation on the perception of Christian belief, and the nature of cosmic value in that belief, and presents the religious leaders confronting such a perception that fortunately did not diminish their faith.

The other readings of the 2010 that I can highlight, include, my review of Kant's philosophy, in particular, Critic of the Practical Reason, and other books on Kant by other authors, giving him great responsibility and value to modern European and Western philophies in general. However, a recent reading of the current issue of a leading French literary magazine, suggests that Hegel is in fact the most important German philosopher to Western philosophies since G. Leibniz, based on the value of his humanism on Phenomenology of the Spirit, the finite nature of man, and his object-oriented view of cognitive psychology, opposite to that of Kant where subject is the measure of knowledge in learning.

2010 also allow me to review Latin American writers like Cortázar (Rayuela), García Márquez (Memoria de mis Putas Tristes), and Nerudas poetry in a comprehensive fashion.

It took me several months to read L'Oracle della Luna in French; it took Lenoir about 20 years to write his 700-page novel. This novel has been compared in nature to Umberto Eco's The Name of the Rose. Lenoir's website is: http://www.fredericlenoir.com.

Rescuing my Early Works (II)

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My Brief Essays as a Young Man

Around 1985, I posted several brief essays on my literary billboard (Notas y Letras) at Universidad del Norte in Barranquilla, Colombia. Most of these essays were related to literary content and analysis. I had typed these essays using an American typewriter that I got from my father, and it was most likely an Epson. Although I always wanted an IBM Selectric III, which sold in Colombia under the name of IBM 21, my father was unable to find it, probably due to the name discrepancy or perhaps it was too expensive, since it was in fact a business machine that I had seen in various businesses during my early working years. I also used a old Remington to write some of these essays, which I probably somehow got from the Escuela Normal (Normal School.)
The pictures below show some some excerpts of two important essays:

The former one describes literary writing as a work that requires courage. The title was probably derived from the series Profiles in Courage on JFK, which was being presented on Colombian TV at the time. It contains some epigraphs from Plato on the incomprehensible nature of poetry and on the psychological reason for writing and the kinesthetic nature of poetry. The latter discusses the so called Esthetic Distance, a term that was coined and used by some critics to explain and discuss García Márquez's lenghy exhile from his native Colombia.

The First Page of an Essay on the Courage to Write

The First Page of an Essay on Gabriel García Márquez's Esthetic Distance

Sábato Expires Just Before Reaching One Hundred Years of Age

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Light at the End of The Tunnel

Over a week-end full of exciting global events, such as the magnificent royal wedding between British Prince William and Katherine of Middletown, now Duke and Duchess of Cambridge, followed by the beatification of Pope John Paul II, and the killing of mastermind terrorist Usama bin Laden, the Latin American literature lost one of his greatest contemporary writers, Argentinian novelist Ernesto Sábato, the author of El Túnel, a novel considered by international critics as one of the greatest masterpiece of contemporary Latin American literature, and as a unique book of universal creative value in gender, content, and style.

The story of painter Juan Pablo Castel and María Iribarne starts with the connection they made through a small window in one of the painters’ paints, which remains unperceivable to others during an artwork exhibition, except for her. Juan Pablo Castel, the starring and narrator of The Tunnel suggests softly that there is a interior tunnel in his life, a psychological and somber one where internal passions confront what he sees as life hypocrisy on human relations based only on personal interests as he seeks himself.  Indeed, this entire perception goes far beyond Balzac’s social event in life or Dostoievski’s romanticist psychological analysis of Raskolnikov personality and feelings or Agatha Christie’s thrilling dramas.

In real life, Sábato is greatly afflicted by the turbulence derived from the atomic bombs blast in Japan and his scientific research as a physicist, which he abandons after attaining a PhD in Physics in Argentina and post-doctoral research work in France.

The Tunnel is one of the preferred readings for young Latin American literature students, and in fact a book that is attractive to the entire Spanish-American nation, and a masterpiece of grace and universal magnitude.  This was a novel that I read several times and on which I had a comprehensive literary analysis.

Sábato was greatly involved with human rights in particular in Argentina, his country of birth. Sábato’s gender had influenced several contemporary young generations of writers all around the world, but most significantly in South America.

Sábato’s works involve:

Novels

▪   1948: El túnel (Translated by Harriet de Onis in 1950 as The Outsider and again by Margaret Sayers Peden in 1988 as The Tunnel.)

▪   1961: Sobre héroes y tumbas (Translated by Helen R. Lane in 1981 as On Heroes and Tombs.)

▪   1974: Abaddón el exterminador (Translated by Andrew Hurley in 1991 as The Angel of Darkness.)

Essays

▪   1945: Uno y el Universo (One and the Universe)

▪   1951: Hombres y engranajes (Men and Mechanisms)

▪   1953: Heterodoxia (Heterodoxy)

▪   1956: El caso Sabato. Torturas y libertad de prensa. Carta abierta al General Aramburu (The Sabato Case. Tortures and Liberty of Press. Open Letter to General Aramburu)

▪   1956: El otro rostro del peronismo (The Other Face of Peronism)

▪   1963: El escritor y sus fantasmas (Translated by Asa Zatz in 1990 as The Writer in the Catastrophe of our Time.)

▪   1963: Tango, discusión y clave (Tango: Discussion and Key)

▪   1967: Significado de Pedro Henríquez Ureña (Significance of Pedro Henríquez Ureña)

▪   1968: Tres aproximaciones a la literatura de nuestro tiempo: Robbe-Grillet, Borges, Sartre (Three Approximations to the Literature of our Time: Robbe-Grillet, Borges, Sartre)

▪   1973: La cultura en la encrucijada nacional (Culture in the National Crossroads)

▪   1976: Diálogos con Jorge Luis Borges (Dialogues with Jorge Luis Borges) (Edited by Orlando Barone.)

▪   1979: Apologías y rechazos (Apologies and Rebuttals)

▪   1979: Los libros y su misión en la liberación e integración de la América Latina (Books and their Mission in the Liberation and Integration of Latin America)

▪   1988: Entre la letra y la sangre. Conversaciones con Carlos Catania (Between Letter and Blood. Conversations with Carlos Catania)

▪   1998: Antes del fin (Before the End)

▪   2000: La resistencia (The Resistance)

▪   2004: España en los diarios de mi vejez (Spain in the Diaries of my Old Age)

Other Works

▪   1964: Itinerario (Itinerary)

▪   1966: Romance de la muerte de Juan Lavalle. Cantar de Gesta (Romance of Juan Lavalle's Death. Cantar de gesta)

1984: Nunca más. Informe de la Comisión Nacional sobre la desaparición de personas (Never Again. Report from the National Commission on the Disappearance of Persons)