Never ephemeral
- Felipe Juaristi:: The house on Erein, 2014. Poetry, 72 pages. price:: € 10
Felipe Juaristi has a refinery in Basque poetry (by Lete, by Anselmir, by Arrangi Diaz de Heredia?) It makes you feel like you're reading a modern classic. The reader has the opportunity to re-savor authentic poetry, with this book which, before adopting this form which has acquired an essay aspect. Azkoitiarra starts with Heraclitus: “If you don’t expect the unexpected, you’ll never find it.”
Passion, love, good and evil… of the poet that moves between the joy of life and the pain of life.
He writes the poem in La Casa Encendida de Madrid, that is the obvious reason for the title. But Felipe Juaristi's raised and furtive house is something else. From its windows comes a light, a platonic fire, an absolute and seamless poetry. It tells us about time with all the canonical power, for example: “Here is cold,/ and the hands are ruined,/ the eyes are tarnished and weighed./Remember,/ as if there was no pain in returning to that world.” They have to do
with the accuracy and selection of the lexicon. Depth is offered without pedantry, agility without frivolities. The calm tone of reflection and a fast-paced vitalism make the book so nice, so long. It's impressive how you jump from the abstract to the concrete sensations, to the corner with the heavy and natural: “We are not time, we are not eternal./ If there is time,/ outside of us,/ somewhere where there
is heat”. Reading Juaristi, you learn to say something as beautiful as possible, as complete as possible. Life inspires melancholy and at the same time loves that advance, that obligation that the living bear the weight of the dead. The folds and impotence of the sensitive human being are described, therefore, in the Resurrected House, but in a very quiet way. Juaristi writes, without judging, without scarecrow, with the awareness that he knows free and slave: “Suffering and enjoying,/ we lose ourselves in the blood/ and teaching the wounds.” And it makes sense to join this criticism with other stanzas, so that the unconvinced reader can see how to make avant-garde with traditional materials, without a flame artifice.
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