“blind faith in discontent” as the driving force of the word

The first we know about this book is the home of its author, the poet Jaume Pont (Lleida, 1947), to sus maestros. To him she owes a sign, a “blind trust in dissatisfaction” that will prove to be the driving force of the poetic word and also of enseñance. And it is the status of the teacher that is particularly important in this volume, Shadows of the writer (Critical Texts 1980-2020), published by Editorial University of Cádiz, in which his poetic ideas are expressed.

While the poet’s function is to veil and conceal meanings, the professor will seek to reveal them. You may know, yes, the silent mouth Octavio Paz“is more allá del language”, but at the same time, it is “more allá” only if you can move from your own language.

This is why it comes to light in expressive poems – églogas de Garcilaso in lot haikus de Bashade Francisco de Aldana on Andrés Sánchez Robayna– looking at the city as a space of resistance, lingering in postism, turning to the Spanish Civil War and crossing the body to decipher the keys Juan Carlos Onetti y Reinaldo Arenas.

In the city, a scenario of poetic conflict, Pont places a Pasolini front in Rome, a Vazquez Montalbán at the front in Barcelona yes Federico García Lorca confused in New York to report on the poet’s extrañamiento among the multitude of desquiciada. “The deserted and foggy streets are today filled with clear announcements; the sound of bells from the sounds of engines and horns; the damp smell of canals and fields is also permeated with the smell of gasoline,” we read.

In Spain a few years ago Antonio Machado if he is compromised with the youth of our republic. Pont ahonda on the theme of youth in the war texts of the author Fr Campos de Castillawhich entrusts itself with “the return to the dignity of man, the inseparable ethical principle of the defense of the working class,” follows the tip.

Character from Carlos Edmundo de Ory is essential in this reclaiming of texts that celebrate transcending poetry. Here he is related to the poet from Cádiz s Eduardo Chicharro analyze the lights and shadows of your friend. Pont’s vision revives the irreverence and seriousness of the Ora, connecting it to a tradition of disruption that reaches back to the poetics of the grotesque of nineteenth-century authors such as Antonio Ros de Olano.

Here we examine, among other things, postism, which, together with Ory and Chicharro, is where Angel Crespo as one of its standards. It is “the first experimental post-war Spanish movement that was definitely based on an inter-artistic occupation (literature, music, painting…) and programming: manuals, magazines, more or less articulated groups and their own convictions”, explains Pont.

A story that also arises when they were associated with vanguards, some of which are analyzed in this book, which refers to marginal or “rare” authors such as Gabino-Alejandro Carriedo y Antonio Beneyto.

Work also begins with the opening of the “second sphere”. Starting with Onetti, who deals with “the process of individual degradation in the urban environment,” and Reinaldo Arenas, who “affirms his revived freedom in this passionate and singular act of rebellion against the blank page,” Pont explores how urban space and the description of human shadows configures a metaphysics of absence and desire.

This sensibility also extends to contemporary Catalan poetry with the critical texts above Antonia Vicens y Meritxell Cucurella-Jorbawhose voices are analyzed by the weight of the body, the coldness and silence that lives between the words.

The closeness of the characters as they are Juan Eduardo Cirlot or Jose Angel Valente it accentuates the mystical dimension and “beauty” of the poem, which seeks the sacred place of its origin. And great literature owes us the silence—rather than the silence—of which we once spoke. The writer’s shadows celebrate the word as “childhood tattoo” and “parpadeo de Dios”, reaffirming the ethical and aesthetic compromise of its author.