By Jose Bono Martinez
El diario del ministro de Defensa que cuenta lo que vivió, sin reparar en los galones de nadie.Cuando José Bono defendió a los militares antifranquistas de los angeles UMD en 1975 poco imaginaba que treinta años más tarde tendría el mando de los ejércitos de España, y como ministro de un gobierno socialista. De eso va este libro, de l intenso bienio que se inicia justo después de los atroces atentados del eleven de marzo de 2004 en Madrid, sobre los que el autor nos revela lo que opinaban, entonces, Felipe González—«Ha sido ETA»—y el periodista Pedro Jota: «Me inclino por Al Qaeda». Se estrena como titular de Defensa con una orden, l. a. retirada de las tropas españolas de Irak, que provoca un duro enfrentamiento con Bush y Donald Rumsfeld. En esa etapa hizo frente a los angeles investigación de una tragedia heredada, l. a. del Yakolev-42 y al mortal accidente del helicóptero Cougar.José Bono, que habla sin reservas, desvela en este libro aspectos clave de nuestra historia reciente, como las declaraciones de un magrebí a los angeles policía vasca amenazando, dos meses antes, del atentado en Atocha, o los angeles advertencia de los servicios secretos a Aznar del riesgo terrorista para España por meternos en l. a. guerra de Irak. Bono da cuenta de los angeles convicción en l. a. cúpula socialista de que Maragall iba a «buscarnos los angeles ruina» con el nuevo Estatuto catalán,...
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I’m not a native Washingtonian,” he wrote, “but I wish I were—it’s my favorite American city” (to Johanna Curran, 3 January 1957; Library of Congress). ) and brought him a wave of requests for reprints (Library of Congress). Jarrell had been anxious for years about the academic-formalist turn fifties poetry seemed to have taken, objecting in 1955 to the “many young poets” for whom “poetry is a game . . they play with propriety, as part of their social and academic existence” (KA 231). At the library he tried to help nurture alternatives, offering advice to Jonathan Williams of Jargon and to the new editor of the Colorado Review about running a magazine, and to Princeton University Press about starting a poetry list.
In the darkness I turned to my rest. —Here, the ﬂag snaps in the glare and silence Of the unbroken ice. I stand here, The dogs bark, my beard is black, and I stare At the North Pole . . And now what? Why, go back. Burt_01 9/12/02 1:14 PM Page 24 24 Jarrell’s Interpersonal Style The “huddling” ﬂakes, and the dogs, are plural and alive; only the poet’s “I” and his ﬂagpole stand alone. The poem, in fact, pivots on the word “alone”—the only word that ends two lines, and those lines one after the other, as if the poem had then to retrace its steps: Here at the actual pole of my existence, Where all that I have done is meaningless, Where I die or live by accident alone— Where, living or dying, I am still alone; Here where North, the night, the berg of death Crowd me out of the ignorant darkness, I see at last that all the knowledge I wrung from the darkness—that the darkness ﬂung me— Is worthless as ignorance; nothing comes from nothing, The darkness from the darkness.
1 Like many of Jarrell’s protagonists—among them the “Woman at the Washington Zoo” in her “dull, null” uniform, the depressed child of “The Elementary Scene,” and the dead American airmen of “Losses”—the woman in “Next Day” seems conﬁned by circumstance and fate to a deeply troubling typicality. This is the plot many of Jarrell’s poems suggest, the story his characters suffer: no one else conﬁrms their unique selfhood, and so they are given occasions to doubt it. Everyone who reads “Next Day” acquires some idea of the sort of person who speaks and how she feels.
Diario de un ministro by Jose Bono Martinez