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Lima: Maquinaciones Poesía, 2022. First Edition. Paperback. 77p., indices, wrps. New. Item #81166
ISBN: 9786124893605
It is in love and death, springs that never cease, where he drinks his verse imbued with an adolescent purity and open to visionary flashes, Javier Sologuren rightly noted in the prologue to the first collection of poems by Isabel Sabogal,"«Requiebros vanos" (1988 ). On this occasion, due to the publication of her second book of poems, "Everything is made to measure for yourself", we would add that Sabogal's poetry, without abandoning —or, rather, incorporating— its nubile and fairy aura , has now articulated to this atmosphere an interesting speculative proposal, and, although subtle, a disturbing and deep eroticism. In reality, both aspects are the traces corresponding to a single inquiry, to a single walk. Eroticism and identity have been, at least since Sappho of Lesbos, the usual way in which —keeping them in conflict, but always united— lyric poetry has tried its spears on us. What's more, it would seem that —facing the empathetic reader— that pairing would be even more effective when eroticism took precedence over identity or, at least, the fragile contours of the latter were put to the test. As professor Anahí Mallol reminds us, in Sabogal's poetry we are probably also witnessing what is common to all artists (at least since the epistemological earthquake that the work of Sigmund Freud signified), but which he assumes in contemporary poetry written by women a special relevance. the fragile contours of the latter were put to the test. As professor Anahí Mallol reminds us, in Sabogal's poetry we are probably also witnessing what is common to all artists (at least since the epistemological earthquake that the work of Sigmund Freud signified), but which he assumes in contemporary poetry written by women a special relevance. the fragile contours of the latter were put to the test. As professor Anahí Mallol reminds us, in Sabogal's poetry we are probably also witnessing what is common to all artists (at least since the epistemological earthquake that the work of Sigmund Freud signified), but which he assumes in contemporary poetry written by women a special relevance.
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