Mario Trejo

His long relationship with music, his years of friendship with many musicians, derived in some very important collaborations like the songs The Lost Birds and Private Scandals with Ástor Piazzolla, or Enrico Rava's excellent album Quotation Marks (Japo Records, 1976), in which played, among others, John Abercrombie, Jack DeJohnette and the Argentinian musicians Néstor Astarita and Ricardo Lew, and in which the singer Jeanne Lee sings Trejo's poems written in English.

He also worked in cinema and two films must be mentioned: in The Oil Route (Italy, 1966) Trejo interpreted himself, directed by Bernardo Bertolucci, whereas Desarraigo (Uprooted, Cuba 1965), directed by Fausto Canel, obtained an honorable mention at the 1966 San Sebastián International Film Festival.

In 1964, Trejo unanimously won the Casa de las Américas literary award for his book The use of the word.

Trejo was part of the very important "Poetry Buenos Aires Movement", formed in the 50s around the "Poetry Buenos Aires" magazine directed by Raúl Gustavo Aguirre, of which 30 editions were published during a decade, starting on the spring of 1950. Other important poets of those years collaborated, like Alberto Vanasco, Edgar Bailey, Rodolfo Alonso, Ramiro de Casasbellas, Paco Urondo, Alejandra Pizarnik, Daniel Giribaldi, Miguel Brascó, Elizabeth Azcona Cronwell, Natalio Hocsman and Jorge Carrol.

Mario Trejo (13 January 1926 – 14 May 2012) was an Argentine poet, playwright, screenwriter, and journalist.

Mario César Trejo was born on January 13, 1926, though there is disagreement on his birth city; some sources indicate the city of Buenos Aires, while others La Plata; yet, Jorge Ariel Madrazo states in his prologue written for Trejo's poem entitled Orgasm (Orgasmo) that "Mario Trejo declares, otherwise, being born in Tierra del Fuego, in Comodoro Rivadavia, or in many other locations: everything indicates that this happened in the southern part of the country, but he does not specify in which year (Trejo agrees with Marcel Duchamp in that such precisions "only serve the fools and Spanish literature professors." He collaborated with several Argentine literary journals such as Contemporánea (1949), Luz y sombra (1948), Cinedrama, revista de cine y teatro contemporáneos (1953), Ciclo y Conjugación de Buenos Aires, as well as others European publications such as L'Expresso of Rome.