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

Untapped

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.
"Larrosak, from time to time" | Jon Iriberri | Erein, 1990.

I liked the poetry of Gerardo Markuleta, and not too much, I was curious to know what Jon Iriberri was like – because I didn’t know her, she was guilty. Iriberri, pseudonym, heteronym or whatever (schizonym, according to the creator) of Markuleta, a signatory of two poetry books. The first, Larrosa, from time to time, of 1990 – but based on a couple of awarded lots of 87 and 89 – the second, The Break of the Apple, of 1993 – new, therefore, although a couple of poems, here with some minor modifications, also appeared in the previous book.

From the beginning, the first collection is part of the concern for time – “I see no more than a big, dark mouth” – it is pleasing in the accounts – “the poets that lied / or the rocket has made me feel loving” –, look daily – “Who has more insecurity than his works / words?” – to the city and the citizen – “their stories / their characters appear in “I’ve lived”. The second collection also follows the same spirit, does not move apart from the themes, you see a continuation, although you try a number of shorter ways, even as the haikas – “Repentance for the storm / no refuge / no respite” –.

In 2007, I was asked to comment on a book already signed by Gerardo Markuleta, Las ignoranzas. In the head of the previous one too – Bat does not take away the other, from 2003, in my weak opinion, the Markuleta summit – he pointed out a certain way of doing poetry, a voice, which likes naked, direct, economic poems, full of contrasts, playful, rhythmic, fine irony. All of them are intubated in the books of Jon Iriberri, perhaps diffuse, embryonic, still unexploded. They're still quite confusing, somewhat obscure, more cryptic, I found sometimes too inherent in private anecdote. The clarity, the simplicity, not the simplicity, which Markuleta is going to show later, without that clarity. In other words: Iriberri vs. Markuleta is one of the literary battles in which the second wins. We are therefore delighted, because what is active – although lately mainly in translation – is Gerardo Markuleta.


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