Publication: La poesía del desconocimiento: hacia un cántico cuántico
Authors
García Cerdán, Andrés
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Publisher
Murcia: Universidad de Murcia, Editum
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DOI
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info:eu-repo/semantics/article
Description
Abstract
Escribir poesía es amar lo desconocido. Un poema es un desconocimiento.
Escribimos lo que no sabemos y desde un lenguaje que se crea en el
proceso mismo de crear. Esta inmediatez y esta inexperiencia nos hacen
entrar de la mano de la palabra en un mundo siempre nuevo, otro.
Convertir al poeta, como está ocurriendo, en un bien de consumo, banalizar
su acción y medir su creatividad y su éxito de acuerdo a ventas, es una
reducción empobrecedora e injusta. Según oscuros intereses se sigue
ejerciendo un lamentable epigonismo de la poesía de la experiencia, que ha
muerto. Frente a esta poesía neosentimental y low cost, se ha de creer en
las vías que apuestan por la indagación en el lenguaje, la crítica de la
realidad y la búsqueda de los márgenes textuales.
Writing poetry involves love to the unknown. A poem is unknowledge. We write what we do not know and we do it from a language that emerges from the process of creation itself. Such immediacy and non-experience make us go along with words into a universe which is always new and different. Turning poets into consumer goods, as it is happening now, trivializing their action and measuring their creativity in terms of mere sale figures, is only a narrow-minded and unfair reduction. On behalf of obscure interests, a regrettable epigonism of the long-dead “poetry of experience” is still exerted. In the face of this neosentimental low-cost poetry, we must 1support those trends which pursue the exploration of language, the criticism of reality and the search for the limits and margins of the written word.
Writing poetry involves love to the unknown. A poem is unknowledge. We write what we do not know and we do it from a language that emerges from the process of creation itself. Such immediacy and non-experience make us go along with words into a universe which is always new and different. Turning poets into consumer goods, as it is happening now, trivializing their action and measuring their creativity in terms of mere sale figures, is only a narrow-minded and unfair reduction. On behalf of obscure interests, a regrettable epigonism of the long-dead “poetry of experience” is still exerted. In the face of this neosentimental low-cost poetry, we must 1support those trends which pursue the exploration of language, the criticism of reality and the search for the limits and margins of the written word.
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