These poems, written between 1973 and 2024 and revised and reworked for this edition, were excluded from their respective collections as marginal pieces not for moral reasons (I have never made morality my own), but because they repeated what others
Se reúnen aquí mis poemarios escritos entre 1972 y 2001 y publicados entre 1973 y 2023, ahora en su versión definitiva, que conforman el primer ciclo de mi obra poética. En la acepción de Rubén Darío, una obra rara —un
Having said goodbye to poetry in 2001, with the verses that close Estrella de Oro, written with uncharacterised characters and devoid of sound and of meaning —‘wordless thinking’, as Picabia would say―, the author returns to it ten years later,
Empecé a escribir Cielos líquidos en 1995. Quise imponerme un modo distinto de ver; de mirar, de sentir lo poético. Me resultaba tan tedioso como la vida, además de absurdo, tener que matar el precioso tiempo que nos queda con
The Golden Star, as an allegorical landscape, marks and illuminates a new way of searching for the perfect ―the circle and gold, that closest to perfection―. The syncretism of cultures and languages ―as opposed to the Language, fascist in itself,
One writes with the language of one’s desire. For a Francophone, I wrote these poems in French, in three different cities of the Maghreb el-Aksa, in front of the Atlantic Ocean, during August and September 1993. In 1997, I translated
Acropolis, the title of the poems, whose meaning refers to the highest and most fortified place in Greek cities, advances the key to their meaning, in the opening quotation which says: There are still some acropolis where you can take
Diary of an ascension to the hells of the real, written between 1982 and 1983, initiatory journey to the heart of emptiness, El perfume de la pantera -narcotic perfume of life- represents the flesh, from aesthetics and cursing, as sacred
HEL I XS is a collection of poems in Catalan, thirty short poems written between 1980 and 1995, with interpolations in French, Latin, Portuguese and Italian, which advocates a poetic language of diversity and miscegenation.
In the four allegorical texts that consist into this collection of poems in prose, dated between 1973 and 1976, recurring themes of the author's poetic universe are encoded, at the same time are configuring the keys to access that fictitious