It says that that which belongs to all is public capital. As I was reading, I thought I was writing very hard ...

How tight you are! If it is narrow to want to refine what one has done in the garbage, remove the straw, reach as intimate as possible, decorate it… in that case, I am narrow. I've been sharpening my artisan facet for a long time. Otherwise, I do not want to oppress myself. What is more, the freest one, the one I like the most, is in this area where I feel, in poetry. However, the poem rarely comes out of the tap like water, rarely. That also happens sometimes! In most cases, however, it touches the miner’s job: to touch the stone, to walk through the inner bars… Wow! Here's the stone!" Well, take it, clean it, study it and see if with the water pebble you can make a good path. This is the way in most cases. On the other hand, my activity is usually very mechanical, I have writing work almost every day, I write very often, but then I see it and… most is the litter! We'll get some of it out! Meanwhile, littering, filling and storing the notebooks are piled, and I take them for the occasion from time to time.

As in this case, until the time comes to publish the book…

When I start to browse the book, it's time for me to get things right. Until then, I do nothing but write and write. And I don't know why I have to write every day. Surely you will also have it for self-help! I guess to give them a while a day. So I walked until last summer, when editor Gorka Arrese was looking at this book, he made me see clearly: “There you are, fill and fill the notebooks!” The editor is so good, he didn't say a single word that he had to stop writing every day. “Otherwise you won’t make books!” So I paused, and since the summer of last year I have written only for the occasion, either because my interior demanded it more strongly, or because I wanted to complete something, by the way, where or for what.

Moreover, writing poems, in daily work…

Since I made the previous book of poems [The Mechanics of Clocks, 2007], I write almost every day. Write texts, not poems. Texts that may or may not be poems. I write very often, yes, and most of the time, when it comes to starting the day, from the morning. The third chapter of this book, Breakfast and Law, has it: those little everyday things. Before you get up, long before breakfast or breakfast, fill a notebook sheet before you go to work. And so I got eight or ten notebooks!

He writes walking through the mud…

When you write -- I'm at least -- you want to get somewhere, and if somebody's not people, it's looking for the essence inside of you. This interior mud, many times, is provided by any external news, new news, restlessness or feeling. There is nothing else, or at least I see nothing else, from a superficial point of view.

The book is titled Public Capital, but it does not refer to the economy… Zainetan murrilak (1987), Poza eta gero (1990) Lur bat zure minari (1995)… Titles of some of your poems books! However, if I tell you, public capital could be treated economically…

The plurality of meanings of the word capital has allowed me to talk about many things. Capital can be a good or a patrimony. I wanted to take advantage of the polysemic aspect of the word to call what we like most: our heritage, what we have left, what is within everyone’s reach, but also, at the same time, to take care of what concerns us all – because if we lose all of us, we lose all – something that we cannot leave regardless… Common and collective heritage. I've wanted to underline that view of life, of what we have to share. Capital, on the other hand, means the servitude of the passage of time, the capitalist system, that creepy gadget that is putting our daily lives on its head and that, as here, pulls out all people in any part of the world. The title has allowed me to play with that duplicity, both to talk about the things I like the most and to refer to some aspects that I think are more delicious. And intimately, it speaks with a meticulous letter of the serious issues surrounding us, an effort to reconcile the two sides, a contribution of tenderness to the public accounts…

The crisis has hit hard in the Urola valley.

Yes, with hardness ... I've put it all, and I think a lot of people have it that way. If he lived in another town, the situation would be very similar, although it may be simpler. It is a difficult situation that is reflected in the book, yes, that we have lived it up close and that, by necessity, has caught us all. But outside our little world there are so many things for anyone who wants to see, so many injustices and deserts, so many people and so many forgotten dignities...

A neighbor or friend who has lost his job is not a stranger in public capital…

I have colleagues who have run out of work, a lot of people close by... That's normal for me to be brought to the book, right?

He has divided the book into three sections: Cold Peace, Walking people, Breakfast and Law…

I started looking at the slice of poems towards the end, I would say in the last semester. One day, give it to friends and soon: “Poems of this kind seem to predominate here! Here's a more intimidating trend. Here you are in the trail of the first poems.” I heard them, I remembered them, and last time I saw three splinters, and I tried to make piles, in order to make my book. But as I write, the text takes the trend that marks the inside or the mind, there's no other. The organization is a later task.

It's 45 poems in the book, but you had many more...

Over a hundred. But you have to pass a sieve and two or three times! As far as the integrity of work is concerned, we have worked on the attempt not to harm. That's why you need readers and editors. Each one is only up to a certain size to see the whole work correctly; the main trends, yes. On the other hand, the pain of extracting some texts is so overwhelming! Many poems have concrete lives, but in the face of doubt, they have always taken them away! This is, in my view, the healthiest trend in the face of the book: to abolish it. Everyone sees the main plane. Then, by force of activity, you learn to take the suspicions and gestures of others seriously. The next one has its reasons. In the end, this book has come to the place where it's been remembered.

Cold peace. Poems are an echo of the socio-political events of the last ten years. Socio-political, socio-poetic carried out.

Politics and poetry become inseparable, inseparable when I talk about political poetry… Ten, fifteen years ago, it was a small bookcase published by the editorial Susa, which I called Political Poems [Amukoak Collection]. Of course, I didn't make much of a discovery, because it's also easy to figure out, but in this book, socio-political, or socio-poetic, facts have gone through the poetic filter. Both poetic and political are the same when it comes to this book. I have tried to give my point of view, from my own activity, from poetry. In all poems we talk about our situation, but above all in the first chapter. More sharply, urgently.

“People walking,” you said in the presentation that they are texts that look up to today…

That is quite simply the case. Suppose the poems in the first part are prior to Aiete. Then, the present, a time in which we live with hope but with responsibility: “process” and a period to which more than a thousand names have been given. I, I've tried to poetic answer to that, see how I see it. In this “People on foot” there are also splinters from the previous paragraph, but I think they need to appear, as we come from there. Lasa and Zabala, dead, hope, the role of poetry, what we have to do for the future… Those concerns.

His book is uncertain. The questions are much more…

Yes, unless the same question is a method for moving forward. Crutches to get here are the questions to keep it up.

The work of Eider Rodriguez on the seas of Joseba Sarrionandia Itsaso da bide bakarra (Utriusque Vasconiae, 2014) has caught my book. Uncertainty is the greatest certainty, questions have no answer...

Poetry doesn't have to answer the questions. I think it's more to ask questions. The questions help to move forward, to ask more questions. Anyway, many of the questions I ask in the book are assertions at once. They have it from the affirmation, even though fear, modesty, is not shown as an affirmation. So are they purely rhetorical questions? Sometimes yes, but not always. Many questions are about yourself, about the self or about us. Sometimes I'm no more than a stiffer, I guess. And when I reprune to myself, I try to put the sting in to others who look like me... Poetry is a path for many things. It is a genre – perhaps made as I do – that is difficult to catch in the trap: diffuse, word, comparison, metaphor… But to a large extent poetry owes its greatness. Otherwise, public capital would be treated in Engels, that is, the Family, private property and the State.

In Breakfast and Law, is this public capital more present than in the third paragraph?

Intimate, core capital, yes. At least, I have made an effort to underline the capital of smallness. I have acted from the intimacy, from the individual identity, but at the same time, experiences that can lead us to connect with our peers and with others that are totally different, to bring small everyday things, whether they be love, or work ... It's also a call to get lost among people, and the book.

You have just said: how many people you have in your public capital. The book is full of people.

Even the skin! [Made by Xabier Gantzarain] I want to say in front of people my capital, comes to the book, I want to make public. I want to say that you are the most important, I want to say what matters to me, and I am saying that. I've had people very close to the title. There is a call, if you want the claim: “Let’s get lost among the people. If something does us, society will do us!”

I remember reading a poem from this book, and I called myself. “A land to your pain!” How much is in this book of enthusiasm and pain from previous works?

I don't know. I think there must be many of them, but I am not able to change the issues. I always have the same concerns and try to give the poetic costume of the time. It's what costs me the most, so that I don't do the same book again and again. That's where I see the risk of crisis, and that's one of the reasons I haven't published that much time. At least one. “Here’s the air from before!” Yes, but when does it stop being before and when does it start to take another air? Well, when some of them say: “You, here’s another wedge that doesn’t appear before!” Then shoot him! Otherwise, I would say that in this book both the echoes of his book Lur bat minari and the previous ones appear. But with a view to the realization or shape of the poem, it is true that an Earth marks a turning point in my path. This, of course, owes them. I, too, would like to always do a completely new and different poem, but for that we must serve! We've been saying many times, to what extent do we write what we want? We write what comes and it's up to us to play what comes. “I’m not going to leave you like Hator!” no, but there’s a lot out there!

Is the time still crystal, as you wrote in that poem?

Yes, no doubt. Very fragile, very transparent, for everyone who can see, and whenever there is a little light! It is obvious that we are all looking for light, but it is not easy!