Wooden childhood

It is been said that a few things produce satisfaction from art. For instance, realist artworks produce satisfaction because we can identify it as something that we know. But we can also say that beauty is pleasant in art works, due to the fact that it is used to be related to some canons that we are used to follow and that we feel comfortable with. According to that, we can say that Efraïm Rodríguez art is satisfying in both senses.

Efraïm Rodríguez is a valencian sculptor who works mainly with wood and who, at the moment, has an exhibition of his art production at the Gallery 3 Punts, in Enric Granados Street, which is full of contemporary artists. The selection of artworks consists of more than twenty sculptures which represent children and babies showing their jokest faces.Domestic wild is the name of the ensemble of sculptures, defining where the child spirit comes out: the house. That’s why we can see disguised kids, dirty babies having their meals or a little boy who has just broken a dish. This is the way the artists opposes or mixes the domestic and the wildness.

Starting from the technique, we might see that the mixture of materials savage itself. The different types of wood are combined with coherence, provided that the artists plays with their colors and textures to give a realistic sensation. For example, the faces of children are made by cypress and oak wood, which have a flesh tone, whereas for the costumes he uses cork, in order to transmit a rough sensation.

But Rodríguez decided to combine those natural and wild materials with industrial materials, such as iron, glass or rubber. This conjunction is related to his idea of Domestic wild, which confronts two opposite poles. Here we find the union of primitive, represented by wood, and the consequences of human development: artificial materials. In that sense, we can see babies made by the trunk of any kind of three wearing an iron bib.

The most representative sculpture of this concept might be the one called Wild, a kid who grows from the crust of a tree, creating a visual metaphor: we are creatures born from the wild, from the nature. But they all have a name and a story behind them. Wolf, for instance, is both Red Riding Hood and the Wolf: the sculpture shows us a little girl dressed with a wolf costume. Again, two opposites being united.

But there is no room for civilization in the exhibition: parents are not allowed. The only adult trace is the hand of what we assume that might be a parent holding her daughter on his shoulders. But his face isn’t represented yet. We can see some cubes which are supposed to be the base of the face, but there is no image, no reference for maturity in here.

What, in fact, we can see is the process of maturity expressed by the face of a young girl who is sitting on some kind of public transport. In spite of her well made face, her expression is disconcerting. She looks worried, but not sad. As we look at her it is easy to think that she might be losing her wildness, while she is being domesticated.

Paradoxically, his influences or models “aren’t realistic at all”, he confesses. He admires Tony Cragg, Antony Gormley and Oteiza, who used different techniques, materials and concepts. But, if there is something that they all (four) have in common, we might say, is the representation of the human body. Every one chooses to do it his way (abstract, cubist, realistic…) but, at least, it seems that they have a special interest on humanity.

Anyway, this fact isn’t quite revealing, according to what Rodríguez says about the main subject of his sculptures: “at the beginning children were a reason to talk about other topics, but now they have become a topic themselves”. Everything changed when his sister had babies and, then, his nephews started to be his reference and his inspiration.

The sculptor talks about the “distance” between the referent and the artist. Now, that he has a closer figure to take as a guide, he says that “it is not the same to work with photos of people that you do not know and with people that are next to you every day”. So, even if the sculptures are quite realistic, we can see a surrealist point. The faces and expressions of children show us the imagination of the kids, as if they have decided to be represented in that way.

When we ask Rodríguez to chose which one is the most important part of his work (the beauty, the concept, the materials, the techinique…) he refuses to chose one. He understands the creative process as “exactly that, a process”, a period of time in which you don’t stop creating. That’s why the artist uses to combine materials and introduce some innovations while he’s working on a sculpture. And, in terms of hours of work, the sculptures usually take him two months: he starts making a mould, then he turns it into wood and then the most difficult part is the assembly.

The sculptor confesses that his artwork “is very accessible for everyone” but, at the same time, “can satisfy a cultivate person or someone who is more used to deal with this sector”.

As we see, he is constantly playing with opposites which can either work together or separated. Anyway, sometimes, it is not so hard to domesticate the wildness.

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Estem d’enhorabona, ara la moda ens permet ser dones XL

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Informe Semanal, el programa de microreportatges que porta a les pantalles espanyoles pràcticament des del seu naixement, va emetre ahir “La revolución de las XL”, dedicat, en resum, a l’aparent adaptació de la moda a les dones grosses. Un reportatge que, tot i tractar un tema actual i a la ordre del dia, no va prendre la perspectiva més adequada.

Si ens fixem en la descripció del tema del reportatge comencem a entendre en quin sentit està enfocat:

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La veritat és que resumeix bé el contingut del reportatge, ja que en tota la peça es parla de les talles grans com una novetat, com si, de cop i volta, les dones grosses haguessin decidit anar a comprar roba. En la mateixa línia, el relat es construeix a partir de la visió empresarial o, com es diu a la descripció, “el sector”. La sensació que se’ns queda després dels deu minuts de vídeo és que ja els hi va bé a les marques i les botigues que hi hagin dones que demanen talles més grans perquè això suposa “l’aparició” d’un nou public que també consumeix.

Però comencem pel principi. El presentador anuncia que el reportatge s’ha realitzat amb motiu de la setmana de la moda, que està celebrant a diferents capitals com Madrid o París, però des d’una perspectiva diferent: la revolució de les talles XL. I tot això ho raona assegurant que “las tallas grandes también son moda” (home, gràcies).

A continuació, tota una sèrie de dones apareixen en pantalla defensant que estan molt orgulloses de les seves corbes i dels seus cossos. A més, ens inciten a que nosaltres també ens animem a fer-ho, perquè fins i tot la Barbie i revistes d’esports – per a homes – estan “donant veu a dones amb pit, malucs i cuixes” (dos dels grans referents del sistema masclista en el que vivim, en definitiva).

Dues de les protagonistes del reportatge són Rebeca Gómez i Elena Devesa, les creadores del blog WeLoverSize. Tot i que se’ls hi doni veu i sembli que, en algunes ocasions, les seves declaracions actuen com a fil conductor del reportatge, no acaben d’incidir en el seu missatge. El que aquestes dues gordibuenas (així és com es defineixen) volen transmetre va més enllà de la talla 44 o 46 (talla que el reportatge es marca com meta final, ja que és fins a on produeixen les grans marques). Ningú sembla parar-se a pensar què volen dir aquestes noies amb el fet que elles mateixes s’han de fer la seva pròpia roba o que només algunes pàgines web tenen talles per a elles. És clar que no estan parlant de les marques que desfilen ara a les passarel·les de cap Fashion week.

A més, si comparem el discurs de les dones que apareixen al vídeo que es pot considerar que estan incloses en el “canon del segle XX” i el de les que no, podrem constatar diferències. D’una banda, trobem un discurs purament mercantilista, que veu a la dona grossa com una consumidora potencial (discurs que, casualment, sostenen dones de la talla 32-34). Yolanda Sacristán, Directora de Vogue Espanya, explica que és molt important desenvolupar l’autoestima d’una dona per tal que allò que veus als mitjans no t’influeixi i sàpigues que tu “ets igual de meravellosa”. És clar, perquè canviar els estereotips des de l’arrel millor no convé, oi que no?

En la mateixa línia, Blanca Zurita, Socia Fundadora de Madrid Fashion Show, legitima aquest immobilisme mediàtic i comercial. Assegura que a les passarel·les es comença a veure roba XL perquè “la demanda del carrer ho estava demanant” i, per suposat, el que volen és “ser un termòmetre del que passa al carrer”. Sembla que aquest termometre ha començat a funcionar ara perquè de dones amb aquestes necessitats n’hi ha hagut sempre.

Però com diu la reportera en veu en off “les marques han vist en el mercat de les talles grans un gran nínxol que explotar”. Vaja, de debò que les grosses també compren roba? Seriosament, deixem de banda que resulti sorprenent el fet que les marques no hagin pensat que sí, que les persones amb sobrepes també han de vestir-se. Si ens centrem en a forma que es construeix aquesta frase, denota una gran fredor aquesta manera de tractar els consumidors com bestiar al qual explotar (i més tenint en compte que s’està parlant d’una minoria afectada tan seriosament pels estereotips).

D’altra banda, trobem uns arguments que realment semblen empatitzar amb la frustració de la dona que no sap sentir-se guapa perquè la societat no li permet (arguments que, altra vegada casualment, són defensats per dones de talla 44 o superior). La responsable de la marca Couchel a El Corte Inglés, Esther Martínez, parla de com es sent una dona que porta talles grans, de quines són les seves limitacions i dels objectius reals de la seva marca: demostrar que una talla gran no té perquè passar desapercebuda.

Un altre discurs que segueix el mateix camí és el de Elena Devesa. La fundadora de WeLoversize afirma que “una no neix odiant el seu cos”, sinó que “és la societat la que ens incita a fer-ho”. A partir d’aquí, s’explica breument el dilema que suposa per les dones el fet de ser grosses tant pel rebuig del teu entorn social com a la hora de trobar roba. Pot ser que aquesta sigui la millor part del reportatge, però no suposa cap mèrit, ja que els arguments que escoltem en veu en off són els que promulguen les autores de WeLoverSize.

L’últim exemple seria el de Marisa Jara, a la qual també entrevisten en el reportatge. Però el seu cas és ambigu i és inevitable relacionar-lo amb un article de la pàgina web Soycurvy, titulat No todas las gordas están buenas. Allunyant-nos una mica del discurs anterior, Marisa Jara representa la dona que “li va plantar cara a la indústria” i que ara “accepta i respecta el seu cos”, que “està segura de si mateixa”. Però, lamentablement, no pot ser un referent.

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Està molt bé, és clar que si, que sigui capaç de rebutjar la idea d’entrar dins un cos que no és el seu per mitjà del patiment materialitzat en dietes i esport. Però ella és model, de talles grans, però és model. L’acceptem i ella s’accepta a si mateixa perquè entra dins el cànon de bellesa. Això és el que l’article de Soycurvy ens dóna a entendre amb el següent:

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El problema no és només ser una talla, el problema pot ser qualsevol altre aspecte del teu físic que no estigui dins els estàndards. I cal lluitar contra això, en general, contra les discriminacions d’aquest tipus, ja sigui perquè ets massa alta, massa baixa, massa prima, massa grossa o “massa qualsevol cosa” fins al punt de “no ser normal”.

En conclusió amb tot l’exposat anteriorment, podem dir que, una vegada més, la dona és dibuixada com el gènere oprimit i passiu. És com si les pròpies dones XL haguessin d’agrair que ara, que estan de moda, tothom les accepti. I aquesta sensació ve donada pel fet que se li atribueix constantment el fet a factors aliens a la voluntat de la dona com a persona amb capacitat de decisió sobre ella mateixa i sobre el seu cos. O és que fins ara les dones XL no volien roba de la seva talla?

Pot ser que el gran error del reportatge sigui donar-li aquest aire de “novetat” a que les dones es sentin a gust dins el seu cos pel fet que ara les marques volen dissenyar també per elles. És que abans no podien fer-ho perquè el sistema capitalista no havia pensat en elles?

 

[Entrada publicada a: https://quehihadenou.wordpress.com ]

The time goes by but fortunately we can take pictures

 

The pleasure that Jacques Henri Lartigue felt taking pictures is directly proportional to the pleasure that we feel contemplating his work. Lartigue, born in an french well-of family at the beginning of the XX century, used to say that he has never taken a picture for any other reason than that at that moment it made him happy to do so. And his snapshots are a proof of that.

Lartigue was a devote of the elegance of black and white, even though he seemed fascinated when he wrote on his diary about the discovering of the color. When he was six years old his father, also photographer, offered him a camera just to please him because he was obliged to stay at bed due to a disease. This is how his health attached him to photography: the fear of losing his life motivated him to capture every moment that worthed it, just like a diary. Furthermore, he assumed that he was frustrated by the idea of not being able to enjoy for a longer time the things that he loved.

Nowadays, professionals and critics use to relate him to the idea of the passage of time thanks to his veneration to the pursuit of joy. That is why the main characters of his work are some of his muses, his wifes: Bibi, Florette and Renée Perle. What made Lartigue specially happy was illustrating the upper French bourgeoisie during the Belle Époque. In spite of belonging to a family of artists, he assured that he didn’t have any influence on his work.

Although he was raised into privilege, he couldn’t achieve a good position as an artist until the age of 69.Thanks to the chance of meeting with John Szarkowski, the photographer made an exhibition at the MOMA. That pushed him immediately the recognition of his work and the world started to know who was him. The second thing that helped him to be known was the publication of a portfolio about him by Life’s magazine in the same edition where the publication announced the death of Kennedy. This is how Lartigue, all of a sudden, became one of the greatest names of the photography of the XX’s century.

What he loved the most was capturing moments dedicated to social leisures. Sports is one of the topics that he illustrated more times. We can see clearly reflected on his pictures his passions for the ski, the golf, the skating and swimming. Specifically those pictures make evident the special vision that he had to take pictures. It is impossible to us to see Lartigue’s pictures of sport just like pictures of sport, they are much more than that. Sometimes they tell us a story, sometimes they just try to be aesthetic.

The most part of the people that we see on his pictures are smiling, but it is not because they know they are being photographed, they are truly happy. Otherwise, it wouldn’t be any reason to take the picture of someone who was faking a feeling that the artist appreciated so much. But there are also cases in which portraits, mainly of women, are serious but not sad. This fact explains that for Lartigue a good moment wasn’t just about laughing and smiling, but being pleased.

In the case of Lartigue, the idea of beauty is present in every snapshot. As we said, his aim was to capture the best moments of his life, so it’s logical that those ones were a synonym of happiness and, thus, beautiful.

The reality of Lartigue’s pictures is only modified by the lens of his camera: he loved to play with the amount of light that came into the lens, the shutter speed and the framing. But he only used those tools to capture anything he wanted to keep inside his memory. He never had the purpose of being fake, simply because he already loved what he was seeing. “The golden rule”, he said, “is “work fast.” As for framing, composition, focus—this is no time to start asking yourself questions: you just have to trust your intuition and the sharpness of your reflexes”.

Lots of his shots give us a different vision of what he was making eternal: a detailed eye of a woman, a long shadow or just someone lying on the beach. He shows us scenes of everyday’s life from a beautiful perspective teaching us, at the same time, how to love our routines.

Apart from that, we might say that the “reality” for him was not the same for everyone at that time. Incredibly, during his period of life – between 1894 and 1986 – not one but two World Wars took place. It is hard to understand how he and his work could be so impervious to the horror that humanity was living. So we can say that yes, his pictures are quite realistic but just for an upper-class person at the epoche.

The sensation of feeling as the time goes by is transmitted in most of Lartigue’s photographies. He captured moments that the human eye can’t see (at least for more than a few seconds) like the splash of a person diving into the water, the precise moment of a car’s start or the flow of a dress. That is exactly what he meant when he said that “What’s so incredibly amusing with photography is that while seemingly an art of the surface, it catches things I haven’t even noticed. And it pains me not to have seen things in all their depth”.

But my job here is done. Now it’s you time to have a good moment, as he would like to, contemplating his pieces of memory, his pieces of joy. Anyway, it has no sense to read this without knowing about what I am talking about because, quoting the photographer himself, “photography is a magic thing. A thing that has mysterious odors, a little strange and frightening, something one quickly grows to love”.

La noche en que entrevisté a Barbijaputa y cumplí un sueño 

Y de repente una duda de tantas se despejaba. Oí su voz y esa temerosa parte de mi que dudaba de su existencia (algo así como cuando los niños pequeños no saben si creer en los reyes magos) se desvaneció. Era real. Había una voz detrás del personaje. Había una persona. Había una chica aparentemente andaluza. Y yo que ni me lo creía. Había conseguido contactar con ella. Había conseguido convencerla de hacerle una entrevista. Había conseguido contestar a la llamada a pesar de los nervios y ya estaba hablando con ella.

¿Y ahora qué? Alba, aprovecha la oportunidad. Que no se te quede nada en el tintero, abre bien tus orejas, toma notas mentales, analiza su mensaje. Pero, sobretodo, no te hagas pesada. Me sentía casi como una fan quinceañera cuando ve por primera vez a su boy band preferida. Y en cuanto a lo que me contó… Eso lo podéis escuchar vosotros mismos. Si ella no se hace responsable de lo que dice, no me voy a hacer yo responsable de lo que diga acerca de lo que ella dice. ¿O no?

Pero algo que no podréis escuchar en la entrevista es un pequeño despiste (y mira que me lo había apuntado). Y bueno, total, ya no podía ser más pesada. “Se me ha olvidado una cosilla…”. Necesitaba alguna canción con la cual identificarla, saber qué escuchaba, a quién recurría para pensar (o dejar de hacerlo). Y su respuesta estuvo a la altura de todas las expectativas: Busco me, de Bebe. Y puse la canción de fondo mientras intentaba asimilar todo lo que acababa de pasar.

Pero, sin darme cuenta, la estaba escuchando como si fuera ella (Barbijaputa) la que me cantara, como si fuera ella la que me diera fuerzas a través de las letras. Y supe, de repente, que podría recurrir a las canciones de Bebe cuando necesitara revivir la euforia contenida en esos casi cuarenta minutos de entrevista. Esa sensación de sentir que te comes el mundo a mordisquitos. Por un lado, por hacer realidad un sueño de esos que crees que no ocurren fuera de la ficción. Por otro, por lo alentadoras que habían resultado sus palabras. No sé que me resultó más confortante, caer en la cuenta de que yo no estaba sola o que ella no estaba sola. En la lucha, digo. En la lucha por el empoderamiento femenino. Que ella no estaba sola quería decir mucho más, simbolizaba el perezoso despertar de una sociedad que abría los ojos a golpe de tweet.

 

The most artistic wedding

If we consider cinema as an artistic expression, La Novia might be a work of art in capital letters. This film, with twelve nominations to the Goya’s Awards, is just the second one made by the director, Paula Ortiz. She decided to produce a film based on the book Bodas de sangre, written by the grenadian Federico García Lorca. Ortiz was inspired since she was a little child by the words of Lorca, this is one of the reasons that pushed her to film La Novia. She also considered that it was important to remember the roots of our literary tradition in a moment where past and present are constantly in touch. So she decided that it was the moment to pay homage to one of her greatest influences.

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Paula Ortiz has been inspired by other literary adaptations, as El perro del hortelano, by Pilar Miró; Cumbres Borrascosas, by Andrea Arnold, or the ballet version of Bodas de Sangre, made by Carlos Sureda. The transformation of the Lorca’s text hasn’t been literary, considering that the script is composed by verses and prose. In both cases, we note the Andalucian folklore in every word. It is not a complex language, you just need to get used to it. The good thing about Lorca’s poetry is that he knew how to combine beauty and simplicity in a perfect balance.

The tragedy

The pain, the revenge and the love are captured by a warm light that characterizes the whole film. The soil colors represent the arid atmosphere of the place where the rural tragedy is set, the interior of the Iberian peninsula. In order to represent this scenery, the director decided to use some landscapes from Aragón (Spain) and Turkey. And she definitely got it. The appearance of the fields is totally deserted and drought, making us think about a dead nature.

In the middle of the desolation we found a story that also ends with the death, like all tragedies do. Maybe not all of us know the whole plot of Bodas de Sangre but, in this case, it won’t be considered as ‘spoiler’ to speak about how the story ends, because what means the most it’s not what, but how.

Two families confronted because of the death of one of its members are the unifying thread and the fact that provokes the final explosion of the film. But the wedding of the son of the same family is what makes the plot go on. Inma Cuesta, as the fiancée, totally gets the point of what her role was supposed to be: a woman who goes out of her mind pushed by an attraction to a man. She makes us feel their love as something instinctive, almost primitive. The man, of course, is not her fiancé, but they know each other. This trio, the fiancés and the man, were friends when they were still kids. But they belonged to those confronted families, so the girl got stuck in the middle of both.

Not just a story about a trio

It is notable that we don’t know the name of any of the characters of the film, just the name of the fiancées lover, Leonardo. That makes us feel as if all the characters that conform the plot were just “playing a role” and that Leonardo is coming from outside of this sphere to makes everything turn down. Nevertheless, it is the passion between him and the fiancée who provokes the misfortune of both.

Asier Etxeandia, as the fiancé, transmits the verses of Lorca with a surprisingly naturalness, although he seemed to be type-casted as a humor actor. The director decided to give the fiancé a bigger role in the film than he has in the poems and that’s what, indeed, turns the story more human and true.

I couldn’t forget to mention that La Novia has been the biggest loser of the Goyas Awards of this year. The film had twelve nominations but only got two: best supporting actress, to Luisa Gavas, and best photography direction, to Miguel Ángel Amoedo. A disappointing fact, taking into account that it was competing for the best direction, among other important awards. In spite of what the critics say, it’s true that the work of Paula Ortiz may contain some errors, but the truth is that we don’t see films like this one every day in the industry of Spanish cinema.

Details

Surely the moment with the biggest impact for the main part of the spectators and the most commented might have been the one in which the fiancée is making circles around a bonfire. This moment symbolizes how the fiancé loses her mind and runs away from the wedding party. Especially this scene is fitted with a great artistic charge thanks to the use of different images that come faster as the music’s tempo increases.

Even though the film is full of impressive scenes, the moment that made me admire and appreciate the film was the one where both lovers are lying on the field, just after having escaped from the wedding, and they have made love. At that point, Inma Cuesta pronounces the most beautiful verses of the whole script: “porque me arrastras y voy/ y me dices que me vuelva/ y te sigo por el aire/ como una brizna de hierba” (“there’s no hour of the day/that I don’t long to see you/ for you draw me, and I go,/ and you tell me to return/ and I follow you through the air,/ like a straw lost in the wind”). The tenderness that her sight and her words got my heart completely melted and my tears running through my face.

I find the merit in starting from the base of a few poems to film an extraordinary creation without the need of any exaggeration, just with the talent of those actors and the director’s love for its profession. And that is what illustrates the film: the simplicity of the well-done things and the passion for art.

Forty-three ways of falling in love with Elvira Sastre

Gooseflesh. That’s what you feel as you go through the verses of Elvira Sastre in her first book Cuarenta y tres manera de soltarse el pelo. We can place it in the recent trend known as “modern poetry”. It has become (too) usual to find poetry quotations among the homepage of Facebook, on the pictures of Instagram, on Tumblr… In some cases, we might say, it comes from a person who hasn’t read a whole book in her/his entire life, but in other cases it may come from someone who’s actually interested in literature or, especially,  someone who’s starting to get interested in literature.

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I would consider that the book Cuarenta y tres maneras de soltarse el pelo is one of the works which attract the third kind of people. Elvira Sastre, as many other young writers in Spain like Marwan, Carlos Miguel Cortés or Roy Galán, has started to share her texts on the social media just for pleasure. But the reaction of its few followers pushed her, as the rest of the “modern poets”, to the fame.  She has studied in Madrid a degree on English studies and she is just twenty-three. Today we can find that her quotations are constantly shared on the social networks. It might seem to us that the massive “transmission” of new poetry can lead to a trivialization of the literary genre, considering that it can be written and read by anyone.

But I prefer to see the phenomenon of young massive poets as an advantage for new generations who, as they get in touch with poetry, will develop a deeper sense of sensibility. The raise of young writers has impulsed, at the same time, the rise of new publishing houses.

Lapsus Calami is the publisher of Cuarenta y tres maneras de soltarse el pelo. This publishing house has born as an agreement between only six partners in 2013, with the aim of pushing digital books. As they say on its webpage, the poets who publish their works with them are those who “had known how to twist the neck of the language to let us see the world through a new eyes”. So we can see that they are really concerned about what they are doing, they have a purpose, an editorial line. It’s not everything about selling as much books as they can. For instance, in their section of “modern poetry” we can only find four titles, and none of their authors is considered a “big name” of literature, they are all young talents.

In the case of Elvira Sastre, we note that her verses concentrate a high level of romanticism. The twenty-three poems of the book are dedicated to an unknown lover (for the reader), a girl that we start to love from the very first words. Once you begin the book, the secrets between the author and the reader disappear: you enter into her deepest feelings, emotions and sensations, from the most sad and romantic remembers to the roughest scenes of sex.

There is a clear difference between the poems of the book. While the first ones tend to relate the way the poetess fell in love with the girl and how their relation started, the second part consists of the heartbreaking escape of her muse.

 Another literary technique that helps the author to make us feel part of their story is writing the poems as if they were dedicated to her lover. We read every text as if they were private letters, where the writer opens all its heart. Little by little, the reader starts making a composition of the unknown addressee, mainly thanks to the recurrent symbols that we notice on the texts.

One of the most current metaphors is the use of the flowers, which she identifies with the feeling of joy, as we can see in one of the passages: “You woke up / and my eyes filled with flowers. / You looked at me and I asked you: / ¿What did you saw in me? / A flower in the middle of a field of ruins, / you said”. In this case, the flowers are the tears of happiness but they also represent the author as a great surprise where there wasn’t supposed to be nothing but waste.

Elvira Sastre makes a wide use of the metaphors and antithesis. It seems that she likes connecting opposites to create a vicious link between both elements: the eternal and the fleeting, the path and the runaway, the drought and the rain… That’s the idea of the love between the poetess and her muse. And this is the way she uses to get the readers hooked on the verses.

The most secret details reveal us a pure love, which at the same time is difficult and struggling. It is the sensibility of Elvira Sastre writing about that what makes you want to be the person who she writes for. Who doesn’t want to hear someone saying to you that “sleeping by your side / turns into / then / in poetry”?

L’EPA, no és or tot el que llu

L’Enquesta de Població Activa revelava la passada setmana una notícia aparentment positiva: l’atur descendia fins el 20’90%. Aquest fet va ser interpretat de totes les formes positives possibles per la majoria dels diaris. Veiem alguns exemples. El País anunciava els fets afirmant El paro cierra 2015 con una bajada récord: 678.200 desempleados menos, El Mundo li donava uns aires encara més grandiloqüents amb el titular El paro registra una caída histórica de 678.200 personas en 2015, La Vanguardia donava la notícia amb un titular més objectiu: EPA: 2015 se cerró con 678.200 parados menos y el desempleo queda en el 20,90%

Els líders informatius aplaudien el govern espanyol sense posar de relleu unes dades que també publicava l’EPA, però que no els hi varen semblar tan rellevant. En canvi, eldiario.es li donava la volta a les xifres o, més aviat, invertia els seus signes convertit el que ens semblava positiu en negatiu. Aquest mitjà purament digital va apostar aquell matí per un titular diferent al de la resta: Los buenos datos de paro de 2015 no evitan que el PP acabe la legislatura con destrucción de empleo. La clau no semblava estar, doncs, les xifres, sinó en una paraula: destrucció. La resta de mitjans no es varen atrevir a utilitzar el seu antònim: creació, ja que aquesta no era la veritable raó per la qual el nombre d’aturats havia patit un descens.

Així, eldiario.es relaciona la destrucció de quasi 60.000 llocs de treball i la desaparició de unes 600.000 persones del món laboral explica aquests resultats. També recorden que un de cada quatre treballadors és de caràcter temporal i que actualment hi ha 90.000 contractes més d’aquest tipus que en el moment en què Mariano Rajoy va arribar al govern. Una altra xifra amarga és la protagonitzada pels treballadors públics, dels quals han desaparegut un total de 274.000. A més, les dades de l’EPA revelar que hi ha unes 400.000 persones més treballant a temps parcial, ja que, segons dades de l’INE, no han aconseguit una feina a jornada completa.

De la mateixa manera que la resta de diaris citats anava publicant al llarg del dia anàlisis sobre el descens de l’atur en cada comunitat autònoma, eldiario.es demostrava les raons clares d’aquest descens, és a dir, la destrucció de llocs de treball, com en el cas de Extremadura. A més, posava de relleu tots aquells territoris on el nivell d’atur continuava sent alarmantment elevat, una realitat que trobem a comunitats autònomes com Cantàbria.

Per si les proves encara no fossin suficients, eldiario.es va publicar un breu anàlisi d’aquestes dades en forma de vídeo.

 

[Entrada publicada a https://quehihadenou.wordpress.com ]