I created it as a living, pulsating polyphonic event integrated in multiple venues with its epicenter at the Royal Academy of Conquest, but radiating out to the Auditorio Theater and (for most participants) to Rosas Hall in the upper city. … The adjective that best suits you is plural. I like to say how multifaceted we are, because we’re obsessed with science and we’re obsessed with literature (what an old dichotomy in the age of the multiverse and AI).
It was an intense three days filled with encounters and reunions with young poets, middle-aged poets, and even poets who have already set foot in the suburbs and are now well into old age. Jorge Manrique (How succinctly accurate this metaphor is. I doubt that AI can generate such a thing. But as we talk about the 2025 version of Poetry for the Drifter, I want you to meditate on what is truly unattainable. We don’t know if it’s the muse of all, or Circe, the siren who could devour all of humanity.)
Juan Ramon Mancilla He is a poet forever tasked with writing, a poet of the everyday, a poet who shines through a poetic continuum and is able to capture and convey emotion and beauty. I associate him with the Taranzón school, where another poet of caste and race, Carlos Morales, continued his legendary label, El Toro de Barro, and with the team in which so many poets from Cuenca and beyond formed Ladies and Gentlemen of the Verse. As with all things, 20 years go by and some people are cut off, but every once in a while I enjoy reading the few things I get into on Facebook. Now, Juan Ramon was in charge of the opening for Passeillo. “Manual for pulling rabbits out of hats” In Theo Alcantara’s room in the auditorium. And what better accompaniment than Christina Feiner’s harp? (Personally, for other editions, I would suggest the Concert of the Lute, the game instrument of invention, a gem of 15th century poetic music immortalized by General Hernando del Castillo Cancionero. Along with the instruments of Zabel de Borbon, and interwar Berlin, it’s my favorite instrument of the century: the orgies of the Expressionists and their extravagant poverty, until some little mustachioed megalomaniac comes along and parades everyone around (No Jim, No Jim, Marken, Paaso!).
The second day was already inaugurated in the RACAL Hall with its spectacular coffered ceiling, which looks like an upside-down ship, by Ana Ares, the author of a collection of poems so exquisite and beautiful both as objects and in their subjects and themes, that we all fear have really been shipwrecked in a sea of poetry. Two female poets, Elma García and Blanca Morel, will appear in a tight double program with Chema Fabela. In the second edition, Eugenio Cortés published a poem denouncing the human catastrophe in Palestine. Aurora da Cruz, a living poem and poetic experience, almost figurative poetry, with African undertones. Also pay attention to Christian Lazarus, introspective and emotional poetry, verbal experimentation and social criticism between Ginsberg and Bequer
On Saturday, there will be presentations of recent poetry collections by Óscar Cavadas, Diana García Bujarabal, and Jorge Pérez Cebrian. Renewing the sap of meters old leaf trees. Raul Nieto’s highly innovative collection “Cartonera del escorpión azul” presents a book by the Palestinian poet Nasser Rabah, which contains only one line: “Flowers do not grow in prisons.” The penultimate recital featured Combo (Des) Lirico Destroy (Josep Vicente Cabrera, Pere Siscar, Pau y Au). Expressive and rebellious poetry, Dadaist overtones are always invigorating. Bilingual in Spanish and Valencian. meeting. humor. Some poems (pearls or slogans?): The Republicans say: I’m tired of the Bourbons! / Orange juice drains me of vitamins! / Who should I pray to for money? To Pelas Athena. / Lyrics: Who did Rodamot fool?
And, of course, all good things must come to an end (and why not bad things? Don Obvio asks): Miguel Ángel Curiel, another great poet and animator of the regional and national poetry scene, introduced Eduardo Moga, whose voice and words rounded out, as you can see, a version of Cuenca events that is motley, diverse and for every taste.
We would like to thank the talented poets and poets such as José Ángel García, Francisco Mora, Ángel Luis Luján, Teresa Pacheco, María Alcocer, Miguel Mura and Rafael Escobar (coordinating team) for successfully turning the recital into a poetry festival with the right selection of events, precise programming and perfect execution, committed to new voices and communication. (Many of us already are, but not in the daily sessions of senior clubs), and they have a good mix of different generations and sensibilities.
It was a great joy to find good friends and companions on this strange journey. Like Eduardo Soto, a film director, tourism promoter, and tireless defender of environmental protection. He spoke to the great poet and scholar Amador Palacios about the postist avant-garde in the same venue a while ago. And to the poet and playwright Enrique Trogal. Carlos de la Rica, a companion to the adventures of the Four Poets published in the 70s in the collection El Toro de Barro, already mentioned by the great, gigantic and always absent Carlos de la Rica, of whom a considerable part of this dust is part.
And the puzzle proposed: AI will be able to develop concepts, ambition, lust for power, hatred, and even love (who can watch Blade Runner and not fall in love with replicants at least a little bit?). However, I believe that there are some things that algorithms can never understand or replicate. Something that rhymes with love…
Humor (and there was plenty of humor in this edition of Naufragos Poetry).
Antonio Lazaro Cebrian
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