Who would not be interested in poetry and its form and the way in which the form of a poem pervades its age at scale, and the way in which some poems provide a glimpse of, or opening to, the next one? And who would not want to read five hundred pages about one of the most vibrant moments of poetry created inside and outside books, in the 1960s and 1970s, when the other limits and consensuses of the political and aesthetic order were being broken and reconstructed? And if almost all poetry or intensified verbal forms that are not mueslified sounds weird, difficult, slow and problematic, what does this mean for our ways of reading, being, relating and understanding today? And wouldn’t this appearance of difficulty (or ideology of transparency) be one of the obstacles that today define our doing and our knowing: what we can do, what we do to know and/or what we can know?
Based on El momento analírico, by María Salgado, published by Akal, professors Selina Blasco (Complutense University of Madrid) and Virginia Trueba Mira (University of Barcelona) talk with the author about language not only as a material for poetry and art, but also as a luxury discarded by neoliberal economics, about the change bought about+ by the presence of text in painting, about a possible alternative history of poetry written in Spain that breaks with some myths of canonical Hispanicism, and about a transfeminist reanalysis of the archives, histories and genealogies that overhauls the neo-avant-garde movements of the 20th century that are discussed in the book.
