Recent Poetry and the Essential Word

Postmodern poetry resists classification in tight compartments. After the last artificially-named group of the novisimos in the 60s, the evolution of poetry in Spain has followed different and at times divergent paths. The novisimos had reacted against social poetry, denouncing its lack of attention to artistry, almost prosaic quality, subservience to theme, and produced elaborate creations with an emphasis on form and the exquisite and more hermetic word and subject. Obeying the law of corsi e ricorsi, there was a certain return in the 80s to simpler expression which, however, does not pretend to be that of the man on the street reflecting the historical circumstance, but rather a search for essences, for eternal values. Each poet—M.V. Atencia, Jesus Munarriz, and Luis Suñen can serve as examples of the essential inclination—traces his own way and creates a personal poetics. Faith in the word is their common denominator. This turn to simplicity can also be observed in the last works of such poets as Carvajal, Gimferrer and Siles, who admit, however, greater ambiguity of word and intention

Entre el sol y la desposesión (Poemas de Janina Degutyté y Biruté Pukeleviciuté)

Bajo el título "Entre el sol y la desposesión" la prestigiosa hispanista Biruté Ciplijauskaité rinde homenaje a las voces líricas de su tierra natal editando y traduciendo una selección de poemas de dos autoras enblemáticas y representativas de la poesía de la Lituania sometida durante la dictadura soviética y de la Lituania en el exilio. Hermanadas por la cultura de una tierra agraria y un poderoso sentimiento de la naturleza, suenan ahora en español las voces de Janina Degutyté (1928-1990) y Biruté Pukeleviciuté (1923). Distintas y distantes por los avatares históricos, conmueven por igua los delgados acentos de Degutyté (una voz de rocío en el crepúsculo que libera belleza y bondad más allá del infortunio personal y colectivo -¿Quién que es no es romántico?-)y los acentos mágicos y rituales (brujas a mediodía) de Pukeleviciuté (una voz que, más allá de la geometría urbana occidental y de los desastres de la guerra, se fragua en el fuego de la pasión y en las viejas liturgias épicas y dramáticas del imaginario tradicional). Salvadas las distancias lingüísticas en una esmerada traducción, el lector español accede aquí al corazón de una deslumbrante poesía que vuelve a hacer verdad el verso de Alberto Caeiro: Soy el Argonauta de las sensaciones verdaderas

Post-Franco Theatre

In the multiple realms and layers that comprise the contemporary Spanish theatrical landscape, “crisis” would seem to be the word that most often lingers in the air, as though it were a common mantra, ready to roll off the tongue of so many theatre professionals with such enormous ease, and even enthusiasm, that one is prompted to wonder whether it might indeed be a miracle that the contemporary technological revolution – coupled with perpetual quandaries concerning public and private funding for the arts – had not by now brought an end to the evolution of the oldest of live arts, or, at the very least, an end to drama as we know it

Carta de 1982-04-03 a José Ferrater Mora des de Madison (Estats Units d'Amèrica)

Exposa a Ferrater la seva opinió sobre alguns editor