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                <text>Poemario de Rodrigo Gainza -  Un signo extraño habita la palabra nuestro Gaínza poeta. Un signo que tiene que ver con el énfasis en un vitalismo tan desmesurado como inédito. Por un lado intenta renovar el concepto de naturaleza, ya no como paisaje donde se solaza lo bucólico o pastoril, cual si el hombre fuere un objeto más de esta utilería.  De otra parte, abierta o soterradamente, intenta una crítica al sistema de ideas que han llevado al hombre a tal suerte de domesticación, y lo hace con denuedo. Tal como si estuviese creando el mundo, propuesta por cierto, para un mundo venidero cuya tarea de rectificación nos convoca a iniciar con urgencia con un sesgo de dogma, similar al que cuestiona, lo que esta vez, y por arte de la alquimia del lenguaje, debería producir alguna voluntad de cambio, algún vestigio desde donde se comience a conjurar el estado de las cosas.  (De la Presentación )    [Fuente: Texto Contratapa del Libro]</text>
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                <text>Poemario de Germán F. Westphal - Germán F. Westphal, uno de esos valdivianos que un día debió emigrar de la ciudad, reemplazando los íntimos recovecos de su Universidad Austral por las abstracciones territoriales de la lingí¼ística teórica, vuelve para descubrir que el tiempo es una vivencia escurridiza que no se deja aprisionar como categoría verbal, y decide aislarse en Niebla, desde donde urde sus textos. Son trabajos que se inscriben en esa línea de indagatorias subjetivas que se podría denominar literatura del re-encuentro: búsqueda del espacio iniciático y sus biografías olvidadas.  En este caso el retorno al espacio lárico, a los contextos de la experiencia que se fue atesorando en las maletas del exilio, se vive y define como un proceso de extrañamiento, en las variadas asociaciones del término, y el regresante constata que hay un desconocimiento mutuo entre la biografía citadina que él conservaba como amanuense fiel y la nueva contemporaneidad de esta urbe. Al endeudarse con el futuro neoliberal, el país se despersonaliza y el primer tributo que debe pagar es relegar al olvido una parte, el excedente utópico, de su pasado reciente. Así, convertido en huésped anónimo de su propia casa, el amanuense asume la única tarea que le queda: reconstruir la ciudad que no existe y convertirla en espacio textual, en un proceso de ajuste o renegociación con la deuda interna de su memoria.  Memoria que tiene algo de postmoderno, al acoger en una misma textualidad la inmediatez del testimonio y el distan-ciamiento lúdico del verso.    Juan A. Epple, Universidad de Oregón</text>
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              <text>Torres Ulloa, Jorge, 1948-2001 Nace en Valdivia el 25 de septiembre de 1948. Hijo de José María Torres, primer alcalde socialista de la ciudad (1956-1960) y Teodisa (Tita) Ulloa, que tuvo indudable influencia en aspectos cruciales de su creación. Profesor normalista, radio control, boxeador aficionado, teatrista, artesano, librero, músico popular ”publicó en la década de los 90 sendos casetes de boleros (Nosotros) y tangos (Tinta Roja)”, editor, político militante, cocinero, amén de escritor, sus intereses lo hacen parecer un hombre renacentista ácrono del finis mundi. De su matrimonio con Tatiana Agí¼ero son sus hijos Antonia, escritora, y Román, artista plástico. Aquejado de una penosa enfermedad renal que lo obliga a frecuentes diálisis y, finalmente, a un trasplante en 1987, fallece el 3 de octubre de 2001.</text>
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                <text>Poemario de Jorge Torres ...  INCITACIí“N AL LECTOR  La lectura puede ser el oficio (sin paga) más viejo del mundo. Los primeros signos leídos fueron las nubes, el vuelo de pájaros, los gestos faciales. Después habría marcas dibujadas en el suelo, en paredes rocosas, en muros; por fin, sobre un delicado e imposible objeto de sólo dos dimensiones, los limitados alfabetos que los hombres interponen entre sí mismos y las cosas innumerables. Empresa imposible la aparente primera función del lenguaje: tocar lo concreto -objetos, acontecimientos- con una abstracción.  Adiestrado en el esquivo sentido de los fenómenos naturales -cuántos errores de apreciación, cuántas sombras, revelaciones-, el hombre comprendería bien pronto la sospechosa y cambiante condición y función del lenguaje: no ser por sí, sino en virtud de un soporte material (papiro, sonido); señalar, nombrar y, sin embargo, por lo mismo, velar lo nombrado con el nombre, sustraerle una porción adherida a la palabra que lo señala. Extremando su inquietud, temería verse suplantado por el lenguaje, conducido o compulsado hacia un destino personal que, sin las palabras, sería otro. "No comprendí la negra magia de las palabras hasta que me mordieron en el corazón".  Entendería también que el acto de leer supone un esfuerzo dirigido a experimentar en si mismo lo contenido en la escritura/lectura; una tensión de la voluntad hacia el descubrimiento de lo que las palabras ocultan. Porque toda escritura, todo acto de lenguaje, es una faena de encubrimiento; de elaboración, de construcción de un misterio al que sólo accederemos por el exigente oficio de la lectura (oficio de dudar), en el ingreso y recorrido del libro, espacio donde convergen la faena original y el rito que la restaura.  De hecho, el pórtico de este libro ya incita a la duda proponiendo, con aparente claridad comunicativa, unos improbables poemas "renales" con el mismo desparpajo con que los propondría "románticos". Traspasado el umbral de fotografía, dedicatoria y otras noticias, desde el primer poema nos enfrentamos a un lenguaje evidentemente tensionado por una búsqueda extraña: comunicar una compleja y profunda experiencia personal (que la prudencia me impide comentar), no en los términos más claros y directos (empresa imposible) ni con encantamientos de artificio, sino elaborando unos objetos verbales, poemas que eluden el estrecho pasillo de la claridad y la armonía convencionales, y actúan en el lector, en la lectura, como instancias diferidas de participación en el proceso de la escritura; la mayor o menor dificultad lectural de estos textos -sus dulzuras y sequedades-, no es sino la reedición constante del propio esfuerzo del autor por crear un texto vivo, una escritura desafiante e inconformista, particularmente en el sentido de no ofrecerse como comunicaciones definidas ni cerradas. Adivinamos a cada paso la desconfianza en la validez significativa de las palabras, de cada palabra, aceptadas sólo después de un largo y paciente escrutinio, hasta no dejarnos, a los lectores, otra salida que recibirlos con correspondiente prevención, con idéntica incredulidad.  No obstante, en su humana -o literaria- condición, el autor cede a una renovada fe en su material: sorpresivas pero frecuentes líneas donde la torturada sintaxis se dulcifica en una emotiva claridad. Y aunque huelgue anotarlo y valga sólo para lectores desprevenidos, no son raros el coloquialismo, la interjección y el humor, no como recursos decorativos sino estructurales: pruebas -entre otras- de una poesía abierta a incorporar, por íntima necesidad, la misma riqueza de la vida a la que aspira (y que la origina).  Esta oscilación entre la fe y la duda, entre una fe primitiva o imprecisa y el escepticismo que los años enseñan, es tal vez la mayor fascinación formal y significativa de estos textos, sostenida por un componente lúdico que los aligera y les permite evitar la pesadez y, al mismo tiempo, abrirse hacia otras experiencias poéticas, perceptibles aun en la brevedad del conjunto.  Por lo tanto, ningún lector que se respete -un lector atento y capcioso, como se exige Jorge Torres-alegará una inocencia por lo demás inútil. Prevenido, sabe que la suya es como la tarea de Teseo en el laberinto, cuyo centro tal vez contiene un espejo, el verdadero rostro del Minotauro.  Ricardo Mendoza /Valdivia, diciembre de 1992.</text>
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(Valdivia, 1969)&#13;
&#13;
Poeta, ensayista, traductor y académico. Ha publicado ArcoSanto (1991), peR,noCto (2002) y Ficciones críticas. Antropologías, literaturas, visualidades (Komorebi Ediciones, 2023); y, junto a Yanko González, La muerte se está fumando mis cigarros (traducción y notas de poemas de Charles Bukowski, 1996), Carne fresca. Última poesía chilena, una muestra (2002), ZurDos. Última poesía latinoamericana (2004) y El pequeño Chartier ilustrado de Roger Chartier (investigación, prólogo y edición, 2021).&#13;
&#13;
Como traductor ha publicado Vider les lieux /Mudanza de Alejandro Zambra (2015), Les cités d’eaux /Las ciudades de agua de Raúl Zurita (2015), Cujo /Cuyo de Nuno Ramos (2020) y La nueva novela / Le nouveau roman de Juan Luis Martínez (co-traducción al francés, 2021).&#13;
&#13;
Después de haber residido en París, donde completó un PhD en Antropología Social y Etnología (en Antropología de la escritura), vive actualmente en Valdivia, donde es docente de la Facultad de Arquitectura y Artes de la Universidad Austral de Chile.</text>
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                <text>Poemario de Pedro Antonio Araya - PEDRO ANTONIO ARAYA, viene a la poesía con una palabra tamizada por muchas y ricas voces. Joven, no ha sido penneado por la moda, el facilismo, ni la compulsión por la grafía. Su palabra sobria llama la atención por el rigor con que se aplica frente al amor, al dolor o al sentimiento religioso, desprovisto este último, de dsiquisiciones teologales o filosóficas.    "Hay relación entre la nervadura de las hojas y las venas pulsantes, entre el dolor del alba y los cuerpos en - amorados ?  nos dice, y calla para seguir afinando el metal de su promisor    Jorge Torres.</text>
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              <text>Verónica Zondek nació en Santiago de Chile en 1953. Reside actualmente en Valdivia, ciudad a la que ha dedicado uno de sus libros. Poeta, traductora y gestora cultural. Licenciada en Historia del Arte en la Universidad Hebrea de Jerusalén. Forma parte de diversos comités editoriales. Es asesora externa del Dpto. de Coordinación de Extensión de la Facultad de Filosofía y Humanidades de la Universidad Austral de Chile. Ha participado en numerosos encuentros literarios, tanto en el país como en el extranjero y ha sido organizadora o co-organizadora de muchos otros. Ha formado parte del jurado de concursos como los del Consejo del Libro, Fondart, Chilectra y Fernando Santiván. Ha obtenido dos veces la beca que otorga el Fondo del Libro para escribir, en 1997 y en el 2006 . La beca Fondart la recibió el 2007 para realizar junto al fotógrafo Abel Lagos el proyecto La Raiz del Viento en la Patagonia.    Ha sido publicada en muchas y diversas antologías de poesía de Chile y otros países. Sus poemas y artículos han aparecido en revistas de literatura tanto nacionales como extranjeras. Ha incursionado en trabajos poéticos visuales y audiovisuales, También ha trabajado en colaboración con pintores, grabadores y fotógrafos. Y ha  presentado algunas obras performáticas.    No puede dejar de mencionarse su magnífico trabajo antológico sobre la obra de Mistral: Poesía reunida.</text>
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              <text>Guillermo Riedemann: nacido en Reumén. Ha publicado: Calle de Un Solo Sentido (2013). Hombre Muerto (2007). Con el seudónimo Esteban Navarro: Salto al Vacío (1998), La Manzana de Oro (1993), Mal de Ojo (1991), Para Matar Este Tiempo (1983), Poemas desde Chile (1981). Con la periodista Cecilia Atria: 10 Años de Poesía, Antología de Poetas Chilenos (1984), Premio Unión de Escritores Jóvenes de Chile, UEJ, 1978. Poemas suyos han sido traducidos al mapudungun, alemán, sueco, inglés y rumano. Actualmente reside en Santiago.</text>
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                <text>Poemario de Rosabetty Muños ...  "... el factor decisivo que opera en su escritura, es una sensibilidad femenina muy particular, que se manifiesta a través de una expresión certera y sugerente. Intuitiva, lúcida, asombrosa aveces, Rosabetty proyecta sus textos desde un compromiso definido con su condición de mujer chilota, hacia el ámbito de la literatura chilena y contemporánea. En ella, deja el aporte de versos definitivos, de poemas abiertos a lecturas en variados registros y de una escritura que explora con valentía niveles y matices encubiertos, desfigurados o negados de nuestra realidad".  "El libro que ahora leemos, Hijos (1990) nos sorprende de nuevo por el encanto de la sencillez y profundidad de sus versos y la visión singularmente femenina que ausculta y da un nuevo sentido a la cotidianidad. Visión reveladora de la ternura y el milagro de la existencia, y también de sus impiedades y terrores".    Iván Carrasco.    Texto en contratapa</text>
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                <text>Poemario de Sergio Hernán Mansilla Torres.</text>
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              <text>Riedemann, Clemente, 1953- Chileno. Profesor de Historia y Geografía. Bachiller en Filosofía y Ciencias Sociales con mención en Antropología. Nació en Valdivia el 14/05/1953.</text>
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                <text>Poemario de Clemente Riedemann - Premio "Pablo Neruda" 1990 - Primer Arqueo de Clemente Riedemann reúne, en un estricto  sentido de inversión cronológica, poemas escritos entre julio de 1989  y febrero de 1975. Este elemento no es casual, al contrario,  constituye un eje de lectura que articula el texto en su conjunto.  El gesto, a no dudar, va mÂ£s allá de un afán nostálgico por rescatar  un pasado que se acaba. En este caso, volver al pasado está  signado como un airoso saludo al futuro. No hay pues un gesto  romántico, sino testimonial. Este sentido de inversión cronológica  está marcado, por un lado, como una lectura de un pasado  personal y colectivo Â—leerse a sí mismo es leer una parte de nuestra  historiaÂ— y, por otro, como un conjunto de textos producidos en  instancias diversas de escritura y cuya articulación provoca, en  este nivel, su lectura como un solo gran poema, pues tiene la crónica  como eje subyacente de su textura.  Desde un discurso conversacional que articula la emotividad y la  ironía con la directa referencialidad, Primer Arqueo asume la  problematización de parte de nuestra mitología colectiva.  Se escribe aquí, para dar cuenta de la realidad, así como para  conmocionar los mitos y lugares comunes que la condicionan y que  sin ser ella misma parecen hablar en su lugar.  Asumir la escritura como parte de una experiencia de vida, lúcida  y crítica, constituye un esfuerzo por sobrepasar una historia  marcada por signos contradictorios. El afán desmitificador, la  asunción de una retórica que parece salir de la vía pública,  pero que no olvida su inscripción en el engranaje de la literatura.  son parte de un mismo intento por transparentar una opción  tanto por la vida como por las palabras.    Oscar Galindo</text>
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                <text>suplemento de "Archipiélago"</text>
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