Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa

Condensation

Lainoa janez. Juan Kruz Igerabide (Erein, 2015)

As if we were eating the fog, we go to life crossing the pages of this delicate and tender book of poems by Igerabide, feeling a fine rain, time. “Everyone is hitting the poet, the last one is crowded into the tomb.” Meanwhile, the world is a reflection and a feeling: “It rains in the cemetery/ and you are not standing.”

Walking through this Fog is like going out to the Sirimiri that moves us, doesn't have a word higher than the other, doesn't have an unrefined end, a useless weight, a redundant repetition. After all, it is one of those books on which you can enjoy the work of the writer. As if God to the northwest, the star of Oteiza goes into Igerabide by the edge of the rain, border of death and life, will lead you hand in a sad and friendly journey: “And the fall passes through the tips of the feet/ above the chestnut bites/ punching the desire to be/ to those who are not.”

The main virtue of this existential poetry is, in my view, that it is intimately linked to a broad and detailed world. He is not the author of speeches or theories. “The girl comes on the slide/ to a rainless reality;/ has homework on the table./ A poet could be born there.” And the same walking along the paths between what could be and what has happened becomes the end. The message is that life is to live. So, more than philosophically has this Janez Mist of life. A glimmer of beauty, a game that words have unconsciously made, an end of poems that have been left open… willing to avoid death and always sing to life, this rainy day of Igerabide is much clearer than the nihilistic nothingness. And although you believe that one day we will die in the void and the fallen into nothing we will become dust, it will still make you love your dark lights, your pleasure and your daily pain Masterfully draw a nature with its moods, in more perfect photographs than metaphors: “There, by far, the sea / at the mercy of the waves./ There is no harbor for love;/ only disorientation./ I can’t comfort her/love her after a love.” In fact, Juan Kruz Igerabide has achieved a great purification, given year after year for the work and the good inner work, from book to book. It will also touch you in the muscle, aesthetically or in its meaning, Eating the fog: you will get wet from top to middle mist in a beautiful rain.

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