Automatically translated from Basque, translation may contain errors. More information here. Elhuyarren itzultzaile automatikoaren logoa
"Barbaroak baratzean" Luis Garde. (Balea Zuria, 2017).
Zarata mediatikoz beteriko garai nahasiotan, merkatu logiketatik urrun eta irakurleengandik gertu dagoen kazetaritza beharrezkoa dela uste baduzu, ARGIA bultzatzera animatu nahi zaitugu. Geroz eta gehiago gara, jarrai dezagun txikitik eragiten.

With this work by Luis Garderen Barbaroak Baratzak, the editorial Balea zuria has begun its journey, one of the last locations of universal literature that bears an image as beautiful as poetic. Was not that whale of Herman Melville also the pursuit of an ideal? Juan Ramón Makuso, one of the founders of the editorial, has just told the reader that he has created the editorial to reflect, to discuss ideas and debate.

He also told me: “Luis Garde’s poetry is known in the Basque Country. His poetic voice is very evocative. His poetry achieves what a poet wants, that is, to emote the reader. Its tone is lyrical, without demagogy, with many images. Language binds itself to content.”

And he doesn't lack reason, because Pamplona is one of the craftsmen of the language. It's a book that doesn't show up, a safe value for it to be the first title of a collection. Garde now brings a book of poems, healthy aqueous, kresaltsua: “Someone is standing on the pier in the morning, waiting for their names and their voices.” To the same extent it is desert, there are nomads, the jungle is suggested. Many are poems written on the limits of life, on the ground of the unknown. Something new, something strange, something barbaric, that would want to undo the binomial “they” and “us” that we do when we discover something barbaric: “The tusks of a yellow dog/ have the other side of the liquid crystal drawing” or “raised them/ the hot plasma screen shining in front of them/ the desire to cross it”.

However, all these images and scenarios of Garde do not always manage to convey the message. It's not a round book. In the vegetable garden of the barbarians it is sometimes effective for no clear reason. Other times it is simple, but far from mere poetry. Many of the pieces in the book are short narratives and, in my opinion, these reflections totally interrupt the passage of poetry. Many other pieces – descriptive, symbolistic – cannot know whether they have a purely aesthetic end or a hidden sense. Books can often say no, but in half words. In this case, however, it is difficult to find a pulsion beyond style and it is still difficult to find arguments for this criticism, beyond this bittersweet feeling.


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2017ko abenduaren 17a
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