2024-12-01 07:00:00
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In the opening notice of this edition of News on Catalan poetry.From its origins to the twentieth centuryEnric Casasses explains that he wrote “the first version of this news around the year two thousand three or four, when the Mexican poet Orlando Guillén asked me to write an epilogue for the bilingual anthology of 20th century Catalan poets that he was translating. in Catalan”.The monumental anthology, which was not published in book form but can be found online, included fifteen poets: twelve men (Liost, Carner, Riba, Salvat Papasseit, Foix, Pere Quart, Bartra, espriu, Vinyoli, Brossa, Ferrater and Estellés ) and three women (Leveroni, Arderiu and Salvà).
Just over twenty years later, Casasses returned to that epilogue, expanded and enriched it, made it independent of the anthology that motivated it - now it must no longer be understood as an audience that knows nothing of the history of poetry Catalan. – and has created a delightful, exciting and informative book that functions, simultaneously occurring, as an example of the author’s hermeneutics and creative disclosure, somewhat in the line of History of art by Ernst Gombrich, with the difference that Gombrich was an academic and Casasses is a poet, and does not cease to be one, even when he writes in prose and does not pretend to be poetry.
The history of Catalan poetry with rigor
When I talk about authorial hermeneutics and creative dissemination I am not only referring to the vibrant and imaginative use with which Casasses works with language, the antipodes of the cold aridity of academic literature and the schematic poverty of popular literature, when such as a book from the century monk of the monastery of Ripoll says he writes verses “in a Latin of being in the cloister”. I am also referring to the fact that Casasses tells the history of Catalan poetry with rigor, but according to his interests and predilections, claiming those works and those authors who have marked him most and from whom he has drunk most, making it a poetic genealogy in which he and his work are right in the center. It is not a reproach, it is what all creators do when they tell the story of those who preceded them in their art or their craft, and those who do not do so are not because they are more noble but because they have neither the knowlege nor the talent to do so.
For Casasses, there are six figures, works, movements or poetic realities that give shape and scope to Catalan poetry throughout history, that mark a turning point, reorient it and redefine it, or up to everything that gives birth to it or be reborn. The number zero of everything, he says, are the troubadours: casasses writes full of nostalgia for the provençal dream, but it is indeed a vital nostalgia, not stagnant. Then comes number one, Raimondo Llull, to whom he gives an importance that is not only foundational, but permanently absolute: even today we are what we are because llull was there, he was there.Then comes number two, Ausiàs march, a very modern medieval poet, an ancient postmodern poet, a poet without adjectives and in capital letters. To explain the period formerly called Decadence,Casasses makes a brilliant feint and pulls out the third ace up his sleeve: anonymous popular poetry. It is correct: during the centuries of decentralization and Castilianization, and beyond exceptions such as the Rector of Vallfogona, Catalan poetry and the Catalan language remained alive and creative thanks to the anonymous people. This is why, after so many centuries, the number four was possible, the stellar, complex and very clear figure of Jacint Verdaguer. And also the powerful and violent cleansing of Joan Maragall,who is number five.
Naturally, to this skeleton of names and essential works is added a whole prodigious galaxy of names and works that are perhaps not essential but vital and precious, both in the field of literature, art and politics, which Casasses explains with grace and energy and in a colorful way. The highest and brightest moments of the book are those accelerated passages of condensation and synthesis. His, so to speak, bohemian appearance and his half-punk troubadour airs often cause the staff to overlook something obvious and very basic about Casasses, namely that if it is true that he is all of these things, it is also true that he is a scholar. Anyone who reads this book will understand this very clearly.
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How does Enric Casasses address the gender disparity among early Catalan poets in his updated anthology?
Interview Between Time.news Editor and Enric Casasses: Exploring Catalan Poetry
Time.news Editor: Good morning, Enric! It’s a pleasure to have you with us today to discuss your latest work, “News on Catalan Poetry: From its Origins to the Twentieth Century”.You’ve been engaging with the world of Catalan poetry for over two decades now. Can you tell us what prompted you to revisit the epilogue you wrote for Orlando Guillén’s anthology?
Enric Casasses: Good morning! Thank you for having me. The initial epilogue was written in a very specific context, and I thought it was time to expand on that. The landscape of Catalan poetry and its appreciation has evolved significantly since then. I wanted to create a book that not only delves deeper into the topic but also considers an audience that might already be familiar with the history and nuances of Catalan poetry.
Time.news Editor: That makes perfect sense. After twenty years, how has your view of catalan poetry changed, and what new insights did you feel compelled to include in this updated edition?
Enric Casasses: My understanding has certainly matured. Initially, I viewed the poets purely through a past lens, but now I appreciate the interconnections between their works and their societal influences. Poetry is not just about words; it reflects the times and cultures in which they were written. I included more commentary on these aspects, focusing on how the poets’ lives intertwined with their work and the socio-political landscape of catalonia.
Time.news Editor: You’ve highlighted a gender disparity in those early poetic circles, featuring predominantly male voices alongside a few prominent female poets. How did you approach this in your book?
Enric Casasses: This is a crucial issue in any literary history, and I wanted to ensure that the voices of the female poets were not sidelined. Although the anthology had a certain imbalance, I emphasized the contributions of women like Leveroni, Arderiu, and Salvà, who played pivotal roles in the Catalan poetic sphere. ItS critically important to recognize these voices not just as footnotes but as integral to the narrative of Catalan poetry.
Time.news Editor: That’s commendable.You’ve drawn comparisons between your work and that of Ernst Gombrich in “History of Art.” What do you believe sets your narrative apart?
Enric Casasses: While Gombrich approached art from an academic standpoint, my background as a poet brings a different outlook to the table. I aim to provide not just an academic account but a poetic one as well. When I write prose, I infuse it with a sense of rhythm and imagery, reflecting the emotional and creative aspects of the subject. My goal is to engage the reader not just intellectually but also emotionally.
Time.news Editor: Engaging readers on different levels is vital. What do you hope readers will take away from this book?
Enric Casasses: I hope they gain a richer appreciation of Catalan poetry—not just as a collection of works but as a vibrant dialog across time and culture. I want them to see these poets as living voices who resonate with our contemporary experiences, and also learn about the historical context that shaped them.
time.news Editor: That’s a wonderful vision for the work. Given today’s digital age and the availability of resources online, how do you see the future of literary anthologies in shaping readers’ understanding of poetry?
Enric Casasses: The digital age certainly offers accessibility and a wider range of resources for readers. however,there’s something irreplaceable about the tactile experience of holding a book and discerning its physical structure. I think literary anthologies will evolve by integrating multi-platform formats—print,online,and interactive media—allowing readers to experience poetry in diverse ways. The key will be to preserve the essence of poetry while adapting to new modes of consumption.
Time.news Editor: That’s an exciting prospect! Enric, thank you for sharing your insights and thoughts on Catalan poetry with us today. We look forward to seeing how your work continues to inspire both the literary community and poetry enthusiasts alike.
Enric Casasses: Thank you! It’s been a pleasure discussing these exciting topics. I hope readers find joy and inspiration in exploring Catalan poetry.