In the last year I have had two opportunities to reflect aloud on today's poetry and on the perspective that is pointed out at the end of the second decade of the century. In Granada on the occasion of the international colloquium on new poetry in the digital age held in December of last year and the inaugural conference of the Expoesía poetic book fair given in Soria last August. The first intervention was enriched with subsequent reflections which were incorporated into the definitive text the one read in the Machadonian city. Once the protocol formalities have been eliminated I have turned it into an article that I trust will help us get closer to a reality like poetics which is no less decisive because it is a minority when it comes to evaluating the state of health of a cultural stage. Let's get to it.
A POEM AND AN ANECDOTE
Before getting into the subject or perhaps as basic elements to get into the subject I am going to read a poem and tell an anecdote. Both speak directly or indirectly about the future and its challenges. Here goes the poem:
The question I would ask an attentive reader is whether it identifies its author. Almost certainly not. To that question I would add another: Is it a good poem? The answer does not seem easy. The reader only knows that conventional language is CXB Directory broken in it so it could be an avant-garde text. And what would a seasoned critic or professor say about him? We do not know. The truth is that none of these three questions would have a clear answer. Well let's reveal the secret: the poem has no author it has been written by a machine. By a computer. That is to say it is not unreasonable to think that in this st century there may be publishers or digital platforms think of Amazon willing to market books of poems written by machines in which the author the poet has disappeared that is pure and simple. Simply put an invented character.
That's it for the poem. Let's go to the anecdote:
December Granada after one of the sessions of the “Colloquium “Poetics on social networks.” "The new Spanish poetry in the digital age" held at the University several participants met at the dinner some poets others professors and two let's call them representatives of the so-called parapoetry young youtubers who sell tens of thousands of copies of books by verses and that are generating a reference pole for the youngest. One of them is well known in that field for having been launched on a primetime television program. In the middle of the conversation he asked me if I could recommend a good literary workshop because he wanted to become familiar with the classical forms and learn the writing technique. I quoted some to him and told him that a poet must know and master these techniques highlighting that in a classic stanza like the sonnet all the modernity and innovation of the world and all the depth of our thought could be contained.
I said “For example José Hierro with two words everything and nothing wrote a masterpiece in sonnet form.” Those around me nodded and the two YouTubers looked at me bewildered and silent. Soon one of them said to another: José Hierro? Does it sound familiar to you? The other shrugged and shook his head. Afterwards we continued having dinner and talking about poetry and poets: none of the YouTubers had news of Blas de Otero or Claudio Rodríguez or Rosales or classics like Lope Garcilaso or Rosalía de Castro . The poets they admitted to having read were Ángel González and Benjamín Prado I deduce that some more poets from the orbit and environment of the latter would be in his particular catalog of readings. That is authors who are selling even in supermarkets tens of thousands of books of verses recognized that they lack a fund of readings and a literary and poetic memory that until now we have considered basic essential to address the complexity of a poem. or to access the poetic heritage accumulated over the centuries a source of learning and knowledge that is not only poetic. Let's retain the data.
發表於 14:05:36
