Rosa Lentini • Monográfico •

Rosa Lentini, originaria de Barcelona y nacida en 1957, se ha desempeñado en la traducción, en la crítica, en la edición, pero su faceta fundamental es la de ser poeta, y en este estudio me centraré en su evolución poética, sin omitir referencias a sus otras actividades.

Jaime Parra, en su excelente análisis Rosa Lentini: El origen y el fin*, destaca que la autora mencionó en “Poética” (1998), que su inclinación hacia la poesía podría haberse originado en la asignatura “Recitation” del Liceo Francés de Barcelona, donde memorizó “Las Fábulas” de La Fontaine y otros clásicos franceses. Las instituciones educativas francesas le ofrecieron un refugio ante la homogeneización cultural durante la época franquista. Junto a su pareja, Ricardo Cano Gaviria, fundó las revistas: Asimetría (1986-88) y Hora de Poesía (1979-95), en esta última, realizando traducciones de destacados autores como Pierre Reverdy, Guillaume Apollinaire, Max Jacob Y Gabriel Ferrater, así como de poetas contemporáneos como Hugues Labrusse, Gerard Macé Y Lou Dubois. Más adelante, Lentini mostró interés por la poesía en inglés, traduciendo a autoras norteamericanas como Elizabeth Bishop Y Sylvia Plath, y colaborando en la traducción de May Swenson Y Adrienne Rich, in "Siete poetas norteamericanas". Posteriormente, continuará traduciendo y publicando a poetas norteamericanas en su propia editorial. Las poetas norteamericanas, como se verá más adelante, tendrán gran influencia en su poesía.

Para analizar su obra poética, utilizaré la “Poesía Reunida (1994-2014)” por dos motivos: en primer lugar, la dificultad para localizar sus primeros libros, y en segundo lugar, y más importante, el hecho de que la poeta revisó toda su producción anterior a 2014, modificando algunos poemas y eliminando o incorporando palabras o versos. Esta revisión se originó tras la creación de "We had" (2013), momento en el que la autora se percató de que los poemas surgían casi de forma espontánea, impulsados por su necesidad de explorar temas que habían permanecido ocultos durante largo tiempo, lo que la llevó a reevaluar los poemas de sus obras anteriores y a reconocer la necesidad de realizar ciertos ajustes al volver a leerlos. En la Nota introductoria de la "Poetry gathered", Rosa Lentini escribe: “Puede afirmarse que la presente Poesía reunida ha nacido bajo el signo de la reescritura. Al terminar de escribir Tuvimos los libros anteriores quedaron iluminados por éste, hasta el punto de sentir la necesidad de reescribirlos”.

En el mismo sentido, en la revista Turia, Esther Peñas interpela a Pink:

• La reescritura (y, por tanto, la relectura) es uno de los ejes de su trabajo. El poema, ¿nos habla o nos escucha?
• Cuando Juan Pablo Roa me propuso reunir toda mi poesía para iniciar su futura editorial Animal Sospechoso, yo estaba a punto de publicar en Bartleby el libro que daría un giro fundamental, casi fundacional, a mi poesía. Digo fundacional porque, al revisarla para el volumen de la poesía reunida, mis libros anteriores quedaron iluminados por este. De ahí también que el tomo de la poesía reunida empiece por el último libro publicado por entonces hasta remontarse al primero. De esa forma rastreaba mejor lo que, aun siendo intuido desde el inicio, no había sido capaz de nombrar completamente. Así, los poemas revisados se reescribieron casi solos, como si no estuviera reelaborando, sino traduciendo a una poeta que había trazado su obra paralelamente a la mía. Clarificada la visión del pasado, los propios poemas me indicaban lo que debía modificar o dejar más explícito. Podría decirse que el poema nos escucha, si le das suficiente recorrido, antes de que seamos capaces de escucharlo a él, como si dándole vida pudiera acabar contándonos lo que de otro modo no somos capaces de explicarnos a nosotros mismos, es el misterio de la poesía. (Turia Digital, Esther Peñas interview with Rosa Lentini).

Según lo mencionado por Pink en la entrevista, la "Poetry gathered" comienza con su obra más reciente en ese momento, "We had", y avanza hacia sus creaciones anteriores hasta alcanzar su primera obra. Sin embargo, en esta ocasión, optaré por un orden cronológico que abarque desde sus comienzos hasta la actualidad.

Lentini incluye en esta recopilación los dos primeros poemarios bajo el título El origen y el fin: “La noche es una voz soñada” (1994) y “Cuaderno de Egipto” (2000). Se caracterizan por ser poemas en prosa influenciados por la literatura francesa. En la Poesía reunida los ha modificado, el primero retocándolo y ampliando y el segundo reduciéndolo.

“La noche es una voz soñada” (1994) incluye poemas de diversos años, algunos de la adolescencia. Está influenciado por la lectura del poemario “Del movimiento y la inmovilidad de Douve” (1953), de Yves Bonnefoy. Bonnefoy (de hecho unos versos suyos introducen el poemario). En su libro, Yves tenía en mente a poetas como Baudelaire, Mallarmé o Valéry, junto a la influencia del surrealismo. En este sentido, los poemas de Lentini remiten a un universo soñador, muy propio del surrealismo, y de sus lecturas de “Poética de la ensoñación” Y “El derecho a soñar”, ambos ensayos de Gaston Bachelard. En algunos poemas el agua es un elemento recurrente (que ya anunciara Bachelard) y también la noche, as in the poem Noches insomnes… El insomnio y el deseo en la noche, se hacen presentes.

El agua y la noche tienen lugar en el poema Voces que os unís… que nos recita la propia poeta.

Su padre, Javier Lentini, médico, coleccionista de arte, poeta, editor y traductor, sería su principal referencia en el principio, además de impulsor de su actividad poética. Javier, editaba la revista Hora de poesía, pasando por ella autores como Celan, Mandelstam Y Klebnikov. Falleció en 1995 y Pink publicó en la editorial Ígitur, en 2005, dos libros en honor a él: “La sal y otros poemas (Antología poética 1973-1995)” Y "Poemas en homenaje”.

En 1997, Pink And his partner Ricardo Cano Gaviria (escritor, traductor, editor y crítico), fundan la editorial Ígitur. La faceta de editora tiene gran importancia dando a conocer a un buen número de escritoras y poetas, muchas traducidos por ellos mismos. De esta manera, Pink traduce a Bishop, Sharon Olds, Adrienne Rich Y Djuna Barnes. La lectura y traducción de estas poetas norteamericanas le abrió un horizonte nuevo, lejos del encorsetado panorama español femenino. Resultarían igualmente enriquecedoras en el futuro, la lectura y traducción de otras autoras como Anne Michaels, Tess Gallagher Y Anne Carson.

El siguiente libro de Pink es un cuadernillo de poemas llamado “Cuaderno de Egipto” (2000). Es el resultado de la fascinación de un viaje a Egipto. Introducen el poemario unas palabras de Ismaíl Kadaré. El agua del río Nilo, la arquitectura egipcia, death, la eternidad o el recuerdo al poeta de Alejandría, Kavafis (Monographic), son algunos de sus temas.

Bajo el ciclo Linaje Río Abajo (de nuevo la importancia del agua), la autora engloba los libros de poemas: “El sur hacia mí” (2001 y 2013), la plaquette “Las cuatro rosas” (2002) y “El veneno y la piedra” (2005). En esta nueva etapa, Rosa Lentini abandona la ciudad de Barcelona para ir a vivir a Montblanc, un pueblo relativamente pequeño de Tarragona.

Los poemas de “El sur hacia mí” (2001 y 2013) poseen un carácter simbólico, destacando especialmente el elemento del agua en su contenido. El libro a su vez, se encuentra dividido en tres partes: Tsunami, Intermedio Y Leyendo a Alejandra Pizarnik.

Sobre el elemento del agua en la poeta, recojo un fragmento del artículo realizado por el compañero de Pink, Ricardo Cano Gaviria, en su artículo La cólera del mar en la poesía de Rosa Lentini *: “Como el lector podrá apreciar, el agua de Rosa Lentini discurre no a través de la anécdota, sino del discurso fragmentario, en una especie de rastreo bajo la superficie del texto en el que van aflorando fragmentos verbales que son como los restos de un naufragio. Con el sueño, ese segundo escenario, siempre al acecho en la poesía de la autora: muchos pasajes de Tsunami parecen salidos de una pesadilla: las palabras deambulan por esos escenarios como almas en pena que piden ser prohijadas, apadrinadas, pronunciadas. Pues sólo al serlo se redimen; sólo al ser incluidas en el poema alcanzan la plenitud de su significado”.

El caso de Tsunami y la serie de poemas que lo acompañan es curioso. Pink recuerda haber visto un documental sobre tsunamis y sus efectos, en ese periodo. Influenciada por esta experiencia, compuso una colección de poemas relacionados con este fenómeno natural. Posteriormente, tras el devastador tsunami en Japón en 2011, amigos y conocidos se sorprendieron al pensar que Pink había previsto el evento, aunque ella aclaró el origen casual de los mismos. Presento la recitación de Pink de la versión original del poema y añado la nueva versión que se encuentra en la Poesía Reunida.

In the poem Los dos sueños vuelve a tomar protagonismo el agua, pero como afirmab a Ricardo Cano Gaviria, en el escenario pesadillesco de los sueños.

Intermedio actúa como un puente entre la primera y la tercera parte. En este segmento, la autora realiza un Memory exercise que la lleva a revivir su infancia, al mismo tiempo que se reflejan las pérdidas experimentadas. Un buen ejemplo es La Ceniza. Pink recita el poema original y yo incluyo el poema revisado por la poeta para su Poesía Reunida.

Leyendo a Alejandra Pizarnik se centra principalmente en las obras que en ese momento estaba explorando Pink, las cuales reflejan la profunda poesía de la poeta argentina y su impacto en su propia vida. Así, Rosa presenta sus propios temas en relación con los motivos recurrentes en la obra de Pizarnik, being death uno de los más destacados.

“Las cuatro rosas” (2002) es una plaquette con cuatro poemas, cada uno enmarcando en una estación del tiempo, bajo un elemento esencial. En todos ellos, la autora emplea la rosa bajo un sentido simbólico. Rosa Lentini recita el poema Invierno.

“El veneno y la piedra” (2005) es un poemario hermético que juega con el simbolismo del ovillo rojo, ejerciendo un doble significado, como símbolo de la sangre y como símbolo de la escritura. El sueño tiene presencia como también la tiene el cuerpo y el dolor. Nuevamente está dividido en tres partes: El veneno, La piedra Y Dominar el miedo.

El veneno, introducido por unos versos de Blanca Varela, se encuentra bajo el influjo del mito de Dafne. En la mitología griega, Dafne era una dríade o ninfa de los árboles, hija del dios río Ladón. Eros disparó una flecha dorada a Apolo para que se enamorara de Dafne, pero Apolo se jactó de haber matado a la serpiente Pitón y de ser un gran arquero, lo que provocó la ira de Eros. En respuesta, Eros lanzó una flecha a Apolo y otra con punta de plomo a Dafne, destinada a hacerla huir de su perseguidor. Ante esta angustiosa situación, Dafne solicitó la ayuda de su padre, el dios río Ladón, quien la transformó en un laurel. Desde entonces, el laurel se convirtió en el árbol sagrado de Apolo, quien lo utilizó para adornar su lira de siete cuerdas. La corona de laurel también es símbolo de los poetas.

Encabeza el apartado el poema Dafne. La poeta se identifica con la huida y el dolor de Dafne y la desesperación de Apolo. En relación con ello, la poeta se lamenta por sus pérdidas y el fin de su propia saga familiar. Rosa Lentini recita el poema en su origen y a continuación despliego el poema reescrito.

A dicho poema le siguen una serie de poemas breves reflejando la temática de la fragilidad, el dolor, la resistencia del cuerpo, la fragmentación de las palabras.

La piedra es el segundo apartado y su epígrafe es de Antonella Anneda: “Escribe porque nada está defendido”. Según Jaime Parra, en los poemas de este apartado: “La piedra es un cuerpo sobre el que se escribe lo que permanece”.* Y en este sentido, en el primer poema de la sucesión queda clara esta interpretación. Pink recita el poema original, al que apenas modificó en la recopilación de su poesía.

Dafne era la protagonista de la primera parte, mientras que Ariadna se presenta en La piedra, nuevamente asociada al símbolo del ovillo, que se entrega a Teseo para que pueda salir del laberinto tras derrotar al Minotauro. En este contexto, Ariadna interviene a través de la madeja, para ilustrar tanto el origen como el desenlace de la historia.

En algunos poemas se pueden observar temas como la fragilidad, el paso del tiempo, Memory o la persistencia el lenguaje, como en el siguiente poema.

La tercera parte, Dominar el miedo, se abre con citas de Else Lasker-Schüler Y Anne Michaels. La primera sobre no poder dominar el miedo y la segunda en la que se trata de conseguir dominarlo. Los poemas son mas extensos que en los dos apartados anteriores. Diferentes temas lo pueblan, como lo son Memory, la escritura Y el símbolo del agua.

Tras la publicación de este poemario, se establece un intervalo de ocho años. Se lanzan algunas antologías de su obra y se incluye en recopilaciones junto a otras poetas. Speaking of broken objects marca el inicio de un nuevo ciclo de tres poemarios, inaugurado con "We had" (2013). Pink mencionó que no tenía claro qué libros formarían parte de este nuevo ciclo. Sin embargo, después de los dos primeros volúmenes, sintió la necesidad de añadir un tercero para completarlo. En las portadas de los tres libros de la trilogía, Pink seleccionará cuadros del pintor José María Guerrero Medina. En este primer libro, ocupa su portada un detalle del cuadro Mediterráneo. El poema del libro Habitación con vistas, es una reflexión teniendo en mente el mismo cuadro.

"We had" (2013), es quizás el poemario más relevante de todos, en el sentido de que en su constitución, los poemas los componía con facilidad, posibilitándole abordar temas tabú que habían permanecido ocultos a lo largo del tiempo. Además de revelar estos asuntos poco explorados, también se adentra en una nueva línea de poesía, tanto en la nueva óptica con la que explora las diferentes temáticas, como en el apartado formal, donde encontraremos una disposición de las palabras dentro de los versos, con una particular simetría, pues Pink aplicará diferentes sangrías dentro de los mismos, y tampoco empleará el punto, como signo de puntuación. Algo de todo esto ya lo hemos observado en los poemarios anteriores, y es que no debemos olvidar, que éstos ya se encuentran revisados y, en su caso, modificados por la autora.

Jaime Parra, en el momento de analizar el nuevo ciclo se refiere a los dos primeros libros editados hasta ese momento, pero que bien se pueden aplicar a los tres: “They have similar characteristics, including their link with Latin American and North American poetry, which is not strange, because the poet already pointed out that among its models were some of the poets of this continent, such as Bishop or Pizarnik, in addition to having done, as already said, an anthology of American poetry. It is, in any case, a special, new, very modern cycle, which participates in several of the features of current poetry: distancing from the poetic subject, use of several voices, rupture with the estrophic conception of the verse, approach to the rhythm of prose, use of certain narrative techniques, lexical renewal, immersion in certain problems of the environment, invention of a new poetic of the character of the character, approach to the character. But with a great surveillance of its treatment, insistence on the role of memory, perspective of the present, expansion of certain motives and myths, approach to the daily pass, dignification of the female subject, treatment of the family atmosphere, reworking of certain myths, interest in eros and Thanatos ”.*

"We had" He writes it Pink After a series of family and personal losses. The heading of the book are some verses of the American poet that she previously translated, previously, Tess Gallagher: “What strangers us, / wrapped in the blue air that houses / its night. / Strangers as expelled figures / memory ". The book is divided by the author into three parts: The premises, The chrysalis Y Thus the world.

The definition of Manuel Rico About the poems, collected in his article Some notes on Rosa Lentini*: "We had perfectly carrying something like" Family Book "as a subtitle (paraphrasing the title of Felix Grande book). Because it is about the family and their surroundings, the limits of life and happiness, of the traces that it leaves in the existence of those who, inevitably, inhabited. Of wounds and their impossible healing ".

The first poem of The premises (the first part), is a declaration of intentions of what awaits us in the following poems. Blunt is Mahalia Jackson's mouth, where there are crucial verses, imagining their parents, still without children and the cracks that would come later: “And they were a faith a light, / before they thought / have children or harm them, /
before they could have / one against each other ". In this sense, Noni Benegas In its excellent article Children's abuse: family hell*, As a result of these verses, he writes: "The author settles the premise from which it starts, and is none other than the conflict that brought with it the disappointment and loss of trust in parents, together with the suffering caused by war without quarter between them".

I select from this first part, the shocking poem about his father, that frames the new cycle of Rosa Lentini, Speaking of broken objects. Noni Benegas, in the aforementioned article, he refers to the poem: "The immeasurable relationship with the Father is shown, whose ambivalence forces the poet to physically fragment - I now live at the distance: one foot, a head - to be able to apprehend it and try to gather the puzzle in:" Speaking of broken objects ", among other poems".*

Likewise, a Imaging style surreal and true Influence of psychoanalysis In this poem and in general, in much of the poetry of Rosa Lentini. On this point, in the magazine Turia, Esther Peñas, interrogate the poet:

• There is a lot of psychoanalytic, self -awareness, in their verses. How to know that the narration we make of ourselves is adequate, the real one?

• There is a movement in my poetry that Edgardo Dobry describes as "spiral", that is, it would seem that it is in the same place, but it is pure appearance, the themes are resumed again and again, but always through a spiral movement, so it is never really in the same place, the same is not told, and that movement is typical of psychoanalysis. More than reviewing it, I rebuild the past, because when it was lived, it had its own keys, unknown to the girl. Now, with accumulated information, the picture that was not understood then then is rebuilt and completed. I guess the key is to try to be as sincere as possible, even if that truth can hurt us - and surely. And we return to the mystery of poetry the more we go into a personal history, the more we reveal our own keys, our experience becomes more community. (Turia Digital, Esther Peñas interview with Rosa Lentini).

It is very pertinent to resort to the interview of Esther Peñas to Rosa Lentini, in Turia, because precisely Pink Talk about the previous poem, in a question in which American poets are cited:

• Following the trail of poets like Sharon Olds or Linda Pastan, his is a poetry that summons the telluric. How "a body is delivered to its destiny"?
• From both poets I have translated a book, Satan says of the first, in collaboration with my husband, and an anthology of the second, in collaboration with Jonio González. The translation is the most thorough learning that can be done from the work of a poet, so both have influenced me, but they are not the only ones. What I try to do is a poetry based on what I call "organic visionary imagination", that is, based on the imaginary diurnal, therefore opposing the purely dreamlike and fantasy - where the self would be locked up - and that also has an almost physical tour in the poem. What is proposed is both a route of daytime images and an organicity of feelings. I would have to give an example. In my book we had, there is a very representative poem, which is the one that gives name to the entire trilogy entitled "Speaking of broken objects"; en él, el sujeto poético implícito protagoniza la acción de encontrar la cabeza del padre entre la basura. Decirlo así queda raro, es una imagen extraña, fuera de lo acostumbrado, pero si además se cuenta que la recoge, que la transporta a hombros, que la gente en la calle la toca para que les de suerte, que le hace unos esponsales y luego la entierra en el jardín junto a las osamentas de los gatos, y que después esa cabeza descarnada, junto con los huesos de los animales, nos miran a los vivos cuando encendemos la luz en la habitación antes de acostarnos, como un teatro de añoranzas que teme las despedidas, estoy dándole un recorrido en imágenes al sentimiento de ausencia y de separación. Le doy una organicidad y un relato. Otro de los temas que trato es el de la enfermedad, el cuerpo se “entrega a su destino” en la página, siempre dialogando con el poema. (Turia Digital, Esther Peñas interview with Rosa Lentini).

Para el poema The end of a life, conviene detenerse en la mirada de Noni Benegas: “Hay. por fin, una composición sobre la que me quiero detener: “El final de una vida”. Evoca un diálogo entre la abuela materna y la nieta, que probablemente muchas de nosotras reconocemos, aunque los roles difieran. Por el momento, retengamos a una adulta culpabilizando a una niña de delitos de los cuales no sólo no fue responsable, sino víctima. […] El poema de Lentini, escrito con una sobriedad que acentúa su veracidad, da una vuelta de tuerca, y presenta algo más o igual de perverso que se suma al abuso: la incomprensión de la madre u otras figuras de poder en el entorno de la menor, que asociamos con la actitud de muchos jueces que condenan a la mujer por llevar faldas cortas, por ejemplo, en vez de culpar al violador. Aquí es la abuela la que encara a la niña de siete años para recriminarle: “Vas detrás de tu padre” -subrayando ese “detrás”- y recordarle algo que ocurrió antes: “Piensa en algo sucio. Más sucio. Ahora no, hace varios años, cuando eras niña, niña”, es decir, menor aún, o sea, impúber, ¿4 o 5 años? Un interrogatorio tenaz que remacha el trauma inicial y empuja a la pequeña “a la introyección del sentimiento de culpa del adulto, pues el juego hasta entonces anodino aparece ahora como un acto que merece castigo”, según observa Sandor Ferenczi, en un esclarecedor artículo sobre las consecuencias de la seducción infantil”.*

The Last Supper is another one discouraging poem on Unstructured Poet's family. The passage of time has resulted in deceased parents, ghosts of a past, and in a blurred memory, both living and dead, hence the explicit final verses: "We forget that we were there, / they forgot that we were there"

In Memory of man behind the door, recall being a girl, to His grandfather, their Huido character next to their Extravagances, like the fact of lifting a wall inside the house, dividing the family. He remembers cleaning the paintings, fixing the garden or giving him a watercolor. He also remembers the decomposed paint box and how he helped his grandfather restore it. The last stanza is extraordinary, in the sense that if the family had been more united, it would have changed the future of all, with less pain, including that of the poet: "We had, we would have had two verbal times ...".

After these impressive poems I collect the words of Manuel Riceither: “Rosa Lentini has built a hard, emotionally intense book, which feeds on the first memories of childhood, even rebuilding, the sensations prior to birth, which advances by some of the most sensed family events, which evokes the time of school without disregard Death stalks the most beloved beings, especially the father, and the gaze is filled with hospitals ”.*

The chrysalis It is the second part of the book where Rosa Lentini It refers to the development phase of the butterflies, in which they are wrapped in a capsule. The poem deserves special attention In the hospital. The poem is framed by some verses of the poet Sharon Olds. The father had to visit frequently in his last years, hospitals, hence The disease Be one of the topics that frequent the poems of the book.

The extraordinary poem closes this part Rain, whose extension prevents it from exposing it completely. In it, there is an intermediate break where Pink Introduce a poetic prose narration, which is what I want to include explicitly. Rosa seems to want to be reborn in the cotton of the chrysalis, of the debris of the memory of her past. The appointment of the poem are some verses of the poet and novelist of Romanian origin, Herta Müller.

In the third section, entitled And so the world, the poetic voice, after exploring in the previous two parts, by a past full of lights and shadows, has developed the quality of self-knowledge. From a quiet present, he manages to assimilate his experience, looking for at the same time Understand both your environment and yourself. It is from the present, that he tries to give meaning to family events and give meaning to his life as a child. Somehow, he also faces Losses, including those of the poet. Death It is another of the themes that the book travels. In this sense, the verses of the poem are enlightening Spaces without angels: "After all the lives / face their tombs"

On their own losses and findings, Esther, citing a poem of Elizabeth Bishop (Monographic), interrogate our poet:

• "The great bet of life is to assume the loss," Bishop wrote. Some of this is in your poetry. How to incorporate what has been lived without melancholy being so excessive that it paralyzes?
• Bishop's poem ends up talking about that loss as a disaster, and says specifically "it is not difficult to master the art of losing, even if sometimes/ may seem (write it!) A disaster" (by the way, I take the translation of Joan Margarit and Sam Abrams that we publish in Igitur editions). Only in the end the poet admits the disaster of all loss and the entire poem charges another meaning after that last verse, and although it says it only once, it highlights the "write it" prior to the word disaster, as saying "dare." She dominated the poet's distance capacity very well regarding her poetry and her feelings. In my case, and as Noni Benegas comments in his book of essays they resist, in the text he dedicates to me, in the face of the madness of the elderly, the girl becomes a little adult, takes the "distance" of an observer. In the poem it is the same, it is above all the narration of the witness, of the survivor, and, therefore, this must be as objective as possible, the melancholy is always a great distorting.

• Although (I think) are two different moments of the same, what happens between the finding and the loss? What is it difficult to recover more?
• Always of the loss, and many times a whole life is not enough to replace us, but I return to Rilke again, his idea that life is a constant overcoming the loss. On the other hand, the finding, even the painful, is something that will end up being part of us over time, once assimilated; The loss, on the other hand, is a subtraction, a vacuum, somewhat irreplaceable, like all those who have suffered amputations in their members and who claim to continue feeling their arms or legs. However, the most responsible poetry - a moral commitment to the word - carries in itself a form of comfort, because writing is revealing our truth.

The poem entitled Accident It is the closure of the work, in which The memories and dreams of the past are intertwined with the current reality.

The end of the book are very relevant words for the meaning of the work, which Pink Take of the writer and composer Samuel Butler, in which the connection between the deceased and those who remain in the present: "We will have lost to the memory of / our encounter ... / And yet we will meet, to separate / and meet again, / where the dead men gather: / on the lips of the living". Samuel Butler

After the poems "We had", Pink, as I said before, he reviewed and modified some poems for its edition of the "Poetry gathered" which would be published in 2015. The book would cover from its beginnings in 1994, to the own We had, 2013.

The second book of the trilogy is titled "Beautiful nothing" (2019). At a conference, Pink He revealed where his title came from. Refers to a fragment of the book of Katherine Ann Porter, "The locos ship", where one of the protagonists affirmed: “Nothing, I have nothing. I only have anything. But it doesn't matter, it's beautiful and it's all mine ". Said fragment, closes the book. A picture of José María Guerrero Medina, the cover illustrates again, in this case it is Harlequin.

Some verses of the poet Tess Gallagher, they are the heading of the book: "... as who prolongs / the moment with his death intact, / with his heart, too wise, / clean of the waste we call hope".

The poem THE BRIGHT OF THE DEVIL 1, open the book, closing it The Devil 2 Bottle. Between them, the author encompasses poems in three sections: Family, Mourning of giants. The remoteness Y Travel to the other side. Pink Recite the poems THE BRIGHT OF THE DEVIL 1 Y Desert (Poem belonging to Travel to the other side).

In Family, Pink The exploration continues to begin in "We had". In a Memory exercise Remember the father, The mother, To the brother, The grandparents or herself, as in the poem The first day, in which we attend your vision of your birth.

Last visit is a shocking poem of his father's agony, being the poet witnessing her and the impotence of her mother in the situation. As happened in "We had", The disease Y death They have a presence again in "Beautiful nothing".

In the poem lilies, the poet is reflected taking flowers to the tomb of a loved one. The verses impress: "For having more things in common / with the absent than with the living / we create the soul / devising the shadow of a dialogue". The relationship with those who are no longer, similar to what is observed in his previous work, becomes essential in this poems.

Mourning of giants. The remoteness It constitutes the second part of the work. In this section, the author uses Children's stories as a pretext in several poems, to explore the poetic self and enrich the meaning, as seen in Giants 5 With the story of Alice. Throughout this series of poems, a certain relaxation can be seen in Lentini, where they are evidenced Humor flashes.

The excellent poem closes the central segment Imagining the sky, which is framed by some verses of the American poet Robert Lowell. As in the previous poem, irony It is present.

Travel to the other side, it is the third and last part of the book and is composed of a series of real travel poems of the poet herself, or imaginary. In the poem The journey. Egypt, his impressions in the present of the trip intermingle with evocations of a historical past of Egypt.

The poem Illustrated Child Bible, revolve around the expulsion from the Eden Garden. The poem presents a critical and ironic nuance subtle.

Close the trilogy Speaking of broken objects, the last book published to date by the poet, "Out of the day" (2022). Lady in blue, from the author's fetish painter, José María Guerrero Medina, is the illustration chosen for the cover of the book. Divide the book The poet into five sections.

The first section of the book is under the title Where there should be a pearl (the mother). The epigraph to poems are verses of RM Rilke: “I don't capture memories. / oh, life, life: be outside ". Again the poet Inquire in the family, in facets that still had to explore and exorcise, in this case it begins with The mother, being girl witness, but trying to assimilate from the present.

About the memory of the past, I stop in the interview of Esther Peñas to Rosa Lentini:

• In your poetry, you propose more than the fulgor of the contingent, the vital accumulation of who writes (this is also noticed in the extension of the poems). Does memory weigh more than desire?
• It depends on the memory of each one, on what lived by each one; In my case, memory weighs and the poem is usually lengthened, although not always. Like the Amerindians, I think that what we have in front is not the future, but the past, and that everything accumulated in life serves to clarify it more than to revive it, and that transfiguration from the present of a less revisited past than rebuilt, offers us, little by little, a more complete picture of who we are; The poetry of memory is never the single narration of the facts, it is also necessary a poetic elaboration, a mask, that helps to bring it closer to the reader. The poet walks on a tightrope, balancing content and shape. From my co -direction in the magazine Time of Poetry, to that of Igitur editions, both with my husband, the writer Ricardo Cano Gaviria, I have read a lot of poetry. And only because of that amount of readings I hope to know the limits, how far you can get in personal narrative. (Turia Digital, Esther Peñas interview with Rosa Lentini).

the extensive Cartography of a mother, is another prominent poem that is framed by some verses of the Polish poet Czeslaw Milosz. In the prologue of the book, Edgardo Dobry Reflect on the maternal figure present in the poem: "The young mother, cartographed, in another of the poems, with her" dark makeup layer ", with her" oval blue plastic box "from which the false eyelashes emerge, which the girl sees with surprise and a finger of resentment. The mother as a woman who circulates eroticized, which is "booted ... to the sea of ​​sargazos" ".*

Continue Dobry, in relation to the disturbing poem Paddling (woman stalking in the hall)-, referring to the mother: "And that, in turn, erotizes the girl and almost delivery, as an offering so that the family home does not collapse, to the father".*

From a wrong place to another (the son), second section of the book, it is framed by some verses of Paul Celan: "I am out, I replace the city, the homeland, / the language even for poetry".

In the first part, the attention focused on the mother, with whom the author experienced an ambivalent relationship of love and hate, especially due to certain attitudes that left the vulnerable girl before the father. In this second segment, The author directs her gaze to her brother, considered the Mother's favorite son. From the moment of the brother of the brother, The girl experiences a painful gradual displacement that the poet feels the need to heal so many years later. The poems of this section are deeply bleak, but mainly it is, at least as regards me, the poem Dream of the fallen God, which starts with an appointment of the writer Louise May Alcott.

Dreaming was a mission It is the third division of the book. Two appointments precede poems: "as a sweet dragon like / a cross with its circular tail / she escaped in the dreams of all ". (Mary Norbert Körte). "If in my human arrogance I demand to read / the eyes, I can't find there more than my own animal thoughts: / that creatures must be for comfort of the body ”. (Adrienne Rich).

Given adversity, the poet needs evade through sleep and imagination, like in Hospital night. Surgery…

In the same section, under a verse of the French poet Martine Broda, is the excellent poem Notes for an old poet (the dream of the bird).

We arrive at the Fourth Section In the end ... / That beautiful corner which is under the epigraph of two quotes: "As if an arm swept the past of its pedestal / and threw it into the paperwork". (Mary Jo Bang). "He key the door to his past, / an exile finally." (Chava Rosenfarb)

The very extensive poem Prelude and trip is a Extremely painful poet's memory exercise, in which a Father's abuse scene to the girl. Lentini Alternate poetic prose with free verses.

In the interview of Esther Peñas to Rosa Lentini, the ethical and moral commitment of the poet is highlighted. In this context, Pink It reveals the children's abuses, trying to understand them through poetry:

• Does the poet's commitment stay beyond language, it remainsout of the day?
• The ethical, moral commitment of the poet goes beyond the contingent, but also beyond a social poetry as it was understood in the period of the 50s to the 70s of the last century. In the United States they know how to find the midpoint between the personal and the social. It is a commitment to the real, understanding by real not reality, but the personal narrative we make of it. Make poems of intimate experiences told from interiority, but not calculating reality, but interpreting it through the mediation of poetry, intimate poems yes, but not confessional. The poet's ethical commitment also comes outside the word, although it is above all with the word. In the trilogy that I just closed with the book out of the day, and which I previously published, also in Bartleby, we had and beautiful nothing - for the same way, with three precious covers of the painter José María Guerrero Medina -, mainly incid Understanding. (Turia Digital, Esther Peñas interview with Rosa Lentini).

Again, its protagonist is the father. In previous books, Lentini He delivered the poems THE RANA I MAN Y Rana II man. Thus, the series concludes with The Rana III man. This poem manifests the ambivalence of the poet to her father -symptillary to the one she feels for her mother-, evidencing so much the fascination for him as rejection that also causes you.

The escape It occupies the last segment of poems of the book. Its epigraph are some verses of the American poet Adrienne Rich: "It is not the distance who conceives me / but I am a distance". Are part of it, two poems, the very extensive The dream under the scanfandra Y From a hotel room (speaking with my centennial grandmother's ghost). About the poem, Edgardo Dobry In the prologue, he writes: “In the end, the grandmother appears as the only one who is capable of offering amparo. And if, as Benegas remembers, Lentini's ultimate poetry should be read in the light of a strong slogan of American feminism -"the personal is political" -, the figure of the protective grandmother is linked to the only moment of the book in which the outside world shows its mark: "Srebrenica, Aleppo, Mariúpol / One hundred faces, eight thousand, twenty, one face ...". Grandma is the maternal instance, which cries abuses and injustices, which returns love to pain ”.*

The book closes some verses of the Czech poet Kateřina Rudčenková, that suggest that Lentini has achieved exorcise all the ghosts of his past Through his poetry and You don't need to face them again: "The dust does not do any evil, / do not clean it anymore".

The previous verses and this last question of Esther Peñas to Rosa Lentini, to finish the article:

• "The horizon diverts the ships / of any promised land." What presides (or should it do so) in our biography is desire or persecution?
• In my case, plus the persecution than the desire itself, there is no doubt. Dramatism is always determined between what we want to happen and what really happens. It is the basis of poetry that never achieve our purposes, the basis of all writing and all creation is that frustration. We write as a way of compensating that fault, that fantasy that we have all had, that unattainable whole, and although that compensation that is the poem can never save us or change anything, although it is not a victory, it always ends up being a gain, because where there was only a blank page, there is now a poem or a book. (Turia Digital, Esther Peñas interview with Rosa Lentini).

Rosa Lentini Published in 2013 the poems "We had". A vital book for the author, because it manages to confront a past of chiaroscuros with a look from the present and trying to understand the girl at the time within a complicated family environment. Following this book, the author feels the urgency of reviewing and restructuring all her previous poetry, which leads her to publish in 2015 a compilation of her work until that moment, including the aforementioned book, "We had ". Thus, almost all the poet's work is presented again, which makes it an essential reading. In addition, the prologue of Eduardo Milan provides valuable comments that help enter the poetry of Lentini.

Although "We had" (2013) ⬈ You are already included in your "Poetry gathered ", is the book with which he begins his last and definitive cycle about his past, Speaking of broken objects. "Beautiful nothing" (2019) ⬈ It is the second poems and "Out of the day" (2022) ⬈ It is the third and final book with which the cycle concludes. In turn, it is the last work to date composed of Rosa Lentini. You can see the book covers above. The three books contain excellent prologues or epigraphs.

It is an essay book edited by the editorial itself of Rosa Lentini And his partner Ricardo Cano Gaviria, Igitur editions. Very interesting editorial, but unfortunately missing. In the book, rightly, they have compiled all the prologues and epigicians of the poems of Rosa Lentini, adding some articles that have approached the poetry of the poet. The book three interviews conducted to Rosa Lentini, one of which is granted to the Turia Magazine, which I have been renovating in the article. Book, therefore, indispensable to know in greater depth the poet and her poetry.

* The articles mentioned throughout the monograph are collected in the trial book cited.

The sound document of the UNED It is indispensable to know and listen to Rosa Lentini speak about his poetry. Poets on the radio: It is a space created by Ana Isabel Zamorano Rueda, Professor of the Department of Foreign Philologies, Faculty of Philology UNED. Coordinator of the Permanent Seminar on Literature and Women, UNED. And next to her, ROSA MARÍA GARCÍA RAYEGO, Professor of English Philology, Poet and Literary Criticism, Complutense University of Madrid. Miguel Minaya Vara He exercises as editor - announcer, CEMAV, UNED. Both teachers bring us closer to the poetry of Rosa Lentini, and in turn, they talk with her. This document has a license: Recognition-Nonocomercial-Compartyrigual 3.0 Spain (CC BY-C-SA 3.0 ES).

In the following two videos, in addition to the presentations on the poetic work of Rosa Lentini, we will have the opportunity to listen to the poet in person by talking about her own poetry and reciting various poems extracted from her poems.