After reading this fire bomb that overcomes the Basque social poetry of the healing houses, you get a sense of peace that is not the most outraged, not the militant, more intimate and, at the same time, disturbing: What is the rabies of the skin dog by Alain Urrutia, our own? What is the hand holding that rage?

And we've already said that precarious word: social. Know, however, that this book by Hedoi Etxarte is not only social, but also sentimental in the way of the expressionists. And it's not just sentimental, because it's also a cold experiment that plays with repetitions, ellipsis, typography. The Lilia de Fuego (Susa, 2008), a seismic force that had been embedded in it in a less effective way, has emerged immeasurably and beautifully. In this book, the truth is defended and lies are denounced, and the writer stands on either side of these relative concepts, without relying on the media. Like Giotto or Dalí, Etxarte also has his Last Dinner (Dinner today, 48. 71 and sec. ), which does not want to be politically and politically correct, and which warns that what was hypocritical before being in the sight of ETA remains hypocritical. With taboos and other empirical truths like these, Etxarte has built a world that does not see only a blind and that is made up of the expelled from the world, the alienated, the mileurists, the unemployed and the ghosts, the little bourgeois that we are now revolutionaries and that we are now mediocre. It's the world that produces both nausea and morbid pleasure.

Hedoi writes with the disagreements of any artistic revolution to draw attention, encourage her to think and enrage her. Misinterpreting Sarcasmo, it may seem that it is a great one that overlaps more than one, but it seemed to me that an irony similar to the “distance effect” that Brecht used was being masterfully used, which allowed him to observe, criticize and present society dialectically in more detail: “We incarnate in each cell/ vanguard and rearguard:/ we are paintings, leaders and sheep;/ dominators and dominated.” This simplist provides a new lexicon for a new reality, full of references and cultism but radical and clear. It's hard, it's going to hurt you, you're going to get angry with the things it says, it's going to stir you so much sadness and so much violence. It's a poetry that seeks your reaction. It's art.