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                <text>Poemario de Omar Lara.</text>
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              <text>Reúne obras de 18 escritores:   Estella del Carmen Fuentealba Ojeda -- Herminda Gladys Muñoz Torres -- Olga Araneda --Jeanette del Carmen Huequemán García -- María Luzmira Contreras Oyarzún -- Maria Nela Acuña Monge -- Teresa del Carmen García Mancilla -- Marta Rosales Solís -- Marc Valenz -- Gloria Oriana Yobánolo Vilches -- Raúl Ricardo Buamscha Harcha -- Emin Silvestre Obando -- Moisés de las Rosas Castro Parra -- Fanny Needham Petersen -- Juvelina Jaramillo Catalán -- Eberardo Perez Van den Molen -- Marlene Dornemann Sangmeister.  Esta selección es temática y estilísticamente diversa, sin embargo hay algunos rasgos generales que destacan:   1.- Existe la tendencia regionalista expresada tanto en el ámbito geográfico como en la cultura y el lenguaje regional. 2.- Otro rasgo general importante es la conciencia de no tener la verdad absoluta de las cosas que tratan sus escritores ("Se observa una actitud de búsqueda más que de respuestas"). 3.- Tendencia individualista de sus autores, se observa "un profundo deseo de identificar su vida real con los textos que han producido, con lo cual acercan su literatura a un modo testimonial de escritura".  (Del prólogo del Dr. Juan Carlos García Vera).</text>
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              <text>García Vera, Juan Carlos, 1944-, Profesor de Lengua Castellana y Literatura Hispanoamericana y Doctorado en Filosofía. Nacio en Santiago de Chile en 1944</text>
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              <text>Miranda Rupailaf, Roxana, Chilena. Poeta y cursa el 3er. año de Pedagogía en Castellano y Comunicaciones. N. en Chile en septiembre de 1982</text>
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              <text>Los archivos de la niebla : notas para leer Reducciones de Jaime Luis Huenun / Sergio Mansilla Torres -- Entrada a Chauracahuin -- Ceremonias -- Cuatro cantos funerarios -- Envios -- Reducciones -- Las lenguas abuelas : eso es todo que queda en el tintero : sobre Reducciones de Jaime Huenun / por Enrique Foffani.</text>
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              <text>Jaime Luis Huenún, Escritor nacido en Valdivia en 1967, hijo de padre huilliche y madre huinca.  Estudió Pedagogía en Castellano en la Universidad de la Frontera de Temuco. Como poeta ha publicado Ceremonias (Universidad de Santiago de Chile (1999), Puerto Trakl (LOM Ediciones, 2001) y Reducciones (Piedra del Sol Ediciones, 2008). Además, ha sido compilador de las antologías 20 poetas mapuches contemporáneos (LOM Ediciones, 2003), La memoria iluminada.Poesía mapuche contemporánea (Maremoto, España, 2007), Los cantosocultos (LOM Ediciones, 2008) y Lof sitiado. Homenaje poético al pueblo mapuche de Chile (LOM Ediciones, 2011). Huenún, ha sido fundamental en la difusión y desarrollo de lo que entendemos como poesía mapuche contemporánea.</text>
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                <text>Poemario de Jaime Luis Huenún.   La presente obra de Jaime Huenún profundiza poéticamente en la historia mapuche y mestiza del país, configurando un despliegue de voces y escrituras en las que se cruzan los cantos y relatos ancestrales, la crónica, el testimonio y el relevamiento de fuentes documentales y de archivo referidas a las sociedades indígenas de Chile. El resultado “como señala Sergio Mansilla“ es una polifonía y una heterogeneidad cultural (y psíquica) siempre en proceso, plástica ante la mutabilidad constante de las relaciones de poder y de la eficacia de los modelos inter e intraculturales.</text>
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                <text>Obra viva : nueva poesía en Valdivia 98-12 / propuesta y prólogo Bruno Serrano Navarro ; selección Claudia Gómez, Bruno Serrano Navarro, Rodrígo Landaeta y Miquel Rojas.</text>
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                <text>Poemario de Omar Lara.</text>
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              <text>El presente libro del poeta chileno David Miralles, recoge las claves recurrentes de su poesía anterior, aunque se observa la madurez de su escritura y la consolidación de un imaginario poético muy personal. En gran parte de estos poemas, el elemento articulador vuelve a ser la problemática de la escritura frente a lo real. Obsesión que, evidentemente, no lo conduce, ni antes ni ahora, a experimentalismo formal alguno, sino, más bien, a una cierta economía de recursos. Esta es, ciertamente, la culminación de años de maduración: lecturas y contra lecturas pueden adivinarse en la trama, no siempre accesible de esta poesía. La emergencia de este libro viene a poner un fin a la condición de borradores en que parecen haber dormitado durante años los textos que lo componen. Aparentemente se trata de una continua reescritura, no tanto, -adivinamos-para llegar a una elusiva frontera, sino más bien porque en dicho juego precisamente ya no son posibles las fronteras ni los destinos. Parece evidente que la gran pulsión que alimenta a esta literatura surge desde los intersticios y fisuras de un mundo fragmentado al que el desolado personaje que se erige a menudo en la voz de estos poemas intenta organizar en una discursividad cartesiana que, no obstante, nunca logra engañarnos del todo. La ironía de tal gesto resulta con frecuencia el gran acierto de muchos de estos textos. El simulacro de organización en que se intenta hacer descansar el sin sentido de situaciones aberrantes en las que, sin embargo, no reconocemos la pura fantasía, sino una cierta fatalidad que bien podría recibir el nombre de realidad. La disonancia que muchos de los textos establecen entre la racionalidad de su discurso y la delicuescencia de sus temas, juega el papel de proyectar sobre el lenguaje una extraña luz que parece fundir (confundir) dicho lenguaje y su hipotético exterior. Es en este aspecto que esta poesía resuelve con maestría aquella exigencia que pesa sobre cualquier arte, es decir, que la forma no alcance un protagonismo que reduzca el sentido a una mera espuma. La argucia parece ser aquí que todos los textos arrancan de lugares previamente advertidos, de situaciones y espacios que pre existen a cualquier trocadura en lenguaje, que quizás ya son otro lenguaje. Se advierte pues, una tópica ante la cual el lenguaje de los textos termina por revelárnosla bajo un aspecto a veces espectral, a veces, en su pura banalidad.  Dra. Mónica Sigg Pallares  Tomado de la Presentación.</text>
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              <text>Poeta. Nace en Castro, 1957. Licenciado en Castellano y Filosofía (Universidad Austral de  Chile).</text>
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                <text>Andrés Anwandter, poeta de la generación del 90 en Chile, ya lleva escrita una profusa obra que, según los dichos de Cussen (2005), podemos calificar como decididamente experimental. Por lo mismo, es curioso que una revisión de las reseñas publicadas hasta el momento sobre Amarillo Crepúsculo, su último libro, nos descubra una perspectiva contenidista que se desentiende de los distintos procedimientos que se despliegan en el texto para situar su gesto político en ciertos tópicos que en la obra se desarrollarían sin contradicciones. El supuesto énfasis político del texto queda reducido, para los lectores de estas reseñas, a un tema o, como mucho, a una atmósfera. Por lo mismo, en este trabajo se volverá sobre la propuesta crítica de Amarillo crepúsculo para destacar el modo complejo en que los distintos mecanismos formales del texto a una vez apoyan y subvierten la crítica social que en el contenido se propone. Para ello, primero se procederá a delinear a grandes rasgos la poética que se desprende del libro, para luego situarla junto a otras tendencias que, en el contexto americano, han intentado superar las contradicciones entre experimentación formal y experiencia política.</text>
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              <text>Jaime Luis Huenún, Escritor nacido en Valdivia en 1967, hijo de padre huilliche y madre huinca.  Estudió Pedagogía en Castellano en la Universidad de la Frontera de Temuco. Como poeta ha publicado Ceremonias (Universidad de Santiago de Chile (1999), Puerto Trakl (LOM Ediciones, 2001) y Reducciones (Piedra del Sol Ediciones, 2008). Además, ha sido compilador de las antologías 20 poetas mapuches contemporáneos (LOM Ediciones, 2003), La memoria iluminada. Poesía mapuche contemporánea (Maremoto, España, 2007), Los cantosocultos (LOM Ediciones, 2008) y Lof sitiado. Homenaje poético al pueblo mapuche de Chile (LOM Ediciones, 2011). Huenún, ha sido fundamental en la difusión y desarrollo de lo que entendemos como poesía mapuche contemporánea.</text>
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              <text>Glosario  Antecedentes de los poetas antologados  Propuesta metodológica para la utilización de poemas mapuches en la educación general básica  Cuadro resumen de características generales de los poemas  Guía de aprendizaje: conozcamos la poesía mapuche 3° y 4°  Guía de aprendizaje: aprendizaje con la poesía mapuche 5° y 6°  Guía de aprendizaje: aprendamos con la poesia mapuche 7° y 8°.    32 poetas participaron, ellos son:    Pedro Aguilera Milla  Lorenzo Aillapán Cayuleo  César Ancalaf  Amalia Andaur Huechante  Cristian Antillanca  David Aniñir  Jaqueline Caniguán  Víctor Cifuentes Palacios  Marcial Colín Lincolao  Bernardo Colipán  Juan Huenuán Escalona  Jaime Luis Huenún Villa  María Inés Huenuñir  Omar Huenuqueo Huiaquinao  Paulo Huirimilla Oyarzo  Juana Lancapichún  María Isabel Lara Millapán  Emerson Licanleo  Leonel Lienlaf  Carlos Levi Reñinao  Ricardo Loncón  Faumelisa Manquepillán  César Millahueique  Roxana Miranda Rupailaf  Maribel Mora Curriao  María Teresa Panchillo  Eliana Pulquillanca  Erwin Quintupill  Ramón Quichiyao  Fernando Raguileo  José Teiguel  Miguel Utreras Imilmaqui</text>
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                <text>La palabra es la flor : poesía mapuche para niños = Rayengey ti dungun pichikeche ñi mapuche kumwiri</text>
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                <text>El Programa de Educación Intercultural Bilingí¼e del Mineduc ha editado, en noviembre del 2011, una antología de poesía mapuche para niños.</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>El largo poema dividido en seis secciones construye, entre los nombres de las aguas y las aves, una geografía holográfica donde en un amasijo de siglos de historia y los presentes conflictos políticos y ambientales, la poeta se instala en dos planos: el uno, social, con las menciones a los lugares y sus personajes ”la plaza, sus transeúntes, su lustrabotas; las vendedoras ambulantes; el café y el museo y ahí los amigos”; el otro, íntimo, en el recogimiento de las costumbres láricas: el tejido, las conservas para el invierno duro, el mate ceremonial.    La vida del agua es llamada en todos sus bautismos; la belleza de los pájaros en todos sus cantos; la maldita codicia en todas sus máscaras.    La ciudad es lo efímero entre temblores, enormes temporales y el río que inevitablemente corre a su fin temporal.</text>
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                <text>Zondek, Verónica</text>
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                <text>El Kultrún</text>
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                <text>Kumedungun / Kumewirin. Antología poética de mujeres mapuches (siglos XX - XXI)</text>
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                <text>Esta antología recupera y sistematiza la poesía producida por mujeres mapuche. Se inicia con una muestra de los cantos tradicionales y culmina con una selección de lo más destacado de las poetas contemporáneas, desde los 70 en Chile y los 80 en Argentina. Utiliza así una mirada genealógica a una poesía que busca dar cuenta de la irrupción y contribución al campo poético canónico chileno y latinoamericano.    Maribel Mora Curriao y Fernanda Moraga García (editoras)</text>
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                <text>Elabuga : poemas de anticipo</text>
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                <text>Poemario de Yanko González.</text>
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otros libros textiles, escritos y elaborados por ella.&#13;
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                <text>Cómo me gusta tu cuerpo</text>
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                <text>Poemario de José Alfredo Pérez Valenzuela-   "El poeta viene de la locura, de los manotazos al aire, del abrazo que se cierra en la nada, viene de las caminatas sin rumbo entre el rrío y la lluvia, viene de 1 a desesperanza, la duda y las soledades. Viene también de la iluminada tarde en que unió su cuerpo y su esperanza con la dueña de su alma y elaboraron una bistoria que se desbace como un ramo de llores en la tormenta. Y que al mismo tiempo se rearma, se reconstruye más ruerte y más intensa todavía.  Ornar Lara"  (Texto de contratapa)</text>
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                <text>Libros El Canelo</text>
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              <text>Eliana Pulquillanca Nahuelpán, Poeta nacida bajo territorio Lafkenche en la comunidad de Piutril, San José de la Mariquina, en 1963. En 1981 emigra a Santiago en busca de mejores perspectivas, según dice en la presentación de Raíces del Canelo (Julio Araya editorial, 2004), su primer libro y donde relata los difíciles momentos que sufrió cuando dejó el sur chileno para venirse a trabajar, a corta edad, como asesora del hogar a la capital. Autodidacta de la poesía y la fotografía, también ha publicado Azul gris. Palabra e imagen mapuche en la ciudad (Autoedición, 2009). Además, ha sido incluida en la antología realizada por Jaime Huenún: Antología de poesía indígena latinoamericana. Los cantos ocultos (LOM Ediciones, 2008), así como también en la compilación de Graciela Huinao y otras autoras: Hilando la memoria. Epu Rupa, 14 mujeres mapuche (Editorial Cuarto Propio, 2009). Ha sido en varias ocasiones invitada a realizar presentaciones en distintos foros sobre pueblos originarios, tanto en Chile como en el extranjero</text>
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                <text>Azul gris. Palabra e imagen mapuche en la ciudad</text>
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                <text>Poemario de Eliana Pulquillanca Nahuelpán.</text>
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              <text>Poeta, editor y Profesor de Estado chileno. Nació en Nueva Imperial el 09/06/1941</text>
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                <text>Argumentos del día. Antología</text>
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                <text>Poemario de Omar Lara.</text>
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                <text>Lara Mendoza, Luis Omar</text>
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                <text>Antología personal 1973-2005</text>
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              <text>Ivonne Coñuecar [Coyhaique-Patagonia, 1980]. Licenciada en Comunicación Social / Periodista y actual alumna del Magíster en Literatura Hispanoamericana Contemporánea en la Universidad Austral de Chile.</text>
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              <text>54</text>
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                <text>Adiabática</text>
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                <text>Ivonne Coñuecar - Adiabática compone sus propias fugas por donde habla y dice, por donde pone en práctica el cuerpo de una política de la memoria personal, para agitar la simbólica del recuerdo experiencial en toda su potencialidad crítica de reconstrucción y deconstrucción del cuerpo como desencaje, cerco e interpelación. La sujeto del texto impide que su historia propia se transforme en una representación estática de un tiempo corporal cerrado, irreversiblemente sellado bajo la gravitación de las rememoraciones y amnesias oficiales. La necesidad de desbordar una interioridad, sin transferir térmicamente sus deseos a otros cuerpos, provoca que la protagonista de los poemas interpele a sujetos silentes, a modo de espectros carnosos que deambulan por sus recuerdos recientes.  Obra escritural financiada con la  Beca de Creación Literaria  del Fondo Nacional de Fomento del Libro y la Lectura 2008  del Consejo Nacional de la Cultura y las Artes.</text>
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                <text>Coñuecar, Ivonne</text>
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                <text>El Kultrún</text>
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              <text>AFTERWORD  Following 1973's military coup in Chile, the largest community of Chilean exiles in Wales settled in Swansea - a city which, for much of the nineteenth century, thanks to its world dominance of the copper trade, had been more or less the economic capital of Chile, the prime source of Swansea's ore. Among the eighty or so Chileans exiled in Swansea - few of whom, initially, would have been aware of the largely forgotten Swansea-Chile connection - was the poet and photographer Humberto Gatica.  Humberto, who arrived in Swansea with his wife Gabriela in 1975, was born in 1944 in the southern village of Huellahue, Panguipulli, in the territory of the indigenous Huilliche people - a region of rain, mountains, farms and forests not unlike parts of Wales. The presence of both geographies, although neither of them is named, is palpable in many of the poems in this collection. Like Wales, Chile is a land of poets: kick up any stone in Chile, it is said, and you'll find a poet lurking there. A poet who grew up not far away from Humberto's birthplace was Pablo Neruda (1904-1973), one of the greatest Spanish-language poets of the twentieth century, whose poems were an inspiration to the carpenter's son from Huellahue. Humberto's first efforts, at the age of thirteen or fourteen, were more prayer than poem: T come from a very religious family, and I liked the rhythm of the prayer.' But in the regional capital of Valdivia, where, aged about fifteen, he studied to become an electrician, he found poetry in libraries that excited his interest. There was also the custom in his village of gathering on Sundays to drink and chat. 'They'd get a little drunk, then they'd start to sing and recite poetry - dramatic poetry and poetry made out of the little things of everyday life. My curiosity was aroused: how to write poems about these little things?'  Not surprisingly, the haiku and its minimalist procedures would exert a considerable influence on this maker of slender, pared-down, carefully observed lyric constructions. (Humberto writes haiku not in Spanish but in English: 'When I try to translate haiku into Spanish, the line is too long.')  Invariably short and succinct, his poems are nevertheless the fruit of painstaking, regular craftsmanship. 'I get up around five every morning, and work for about two and a half hours on my poetry before I go to the university.' (Since 1987, he has worked as a photography technician and demonstrator at what is now Swansea Metropolitan University.) 'Maybe I don't write more than a line or manage more than finding just one word. But I have to attend to my poetry every day, and feel guilty if I do not.'  The poems in this collection, with their theme of enforced exile and the struggle to adapt to life in a foreign land, are the fruits of harsh political happenstance. A supporter of democratically elected President Allende, Humberto was working on a community arts programme in the mountains when Pinochet and his generals crushed the Popular Unity government's daring socialist experiment. Humberto was among the thousands rounded up, jailed, beaten and, in the worst cases, tortured, mutilated, killed or 'disappeared'. He spent ten months in prison, during which he was subjected to brutal interrogations. An international solidarity campaign managed to secure his release, along with that of many other prisoners of conscience. Friends advised Humberto and Gabriela to flee the country. They settled for a while in Mendoza, Argentina, until the political situation in that country worsened, when they sought asylum in Europe. Towards the end of 1975, they arrived in Swansea; here they have remained, apart from an interlude in Mozambique, where they worked on a community project. Their three children were born in Swansea and Cardiff: Andromeda died in infancy; Judith and Leonardo are, of course, citizens of Wales (or 'British subjects', as officialdom would have it).  Photography has been Humberto's bread and butter - he loves teaching the subject, and he has had two solo exhibitions as well as participating in many group exhibitions - but poetry has always been his first priority. The two arts inform each other. 'What they have in common, for me, is simplicity and an emphasis on the sense of beauty. Out of a great sense of solemnity in my village, comes this desire to make beauty.'  Although a long way now from Huellahue, his native locality continues to play on his imagination. 'I still have my village on my back. It's difficult to dissociate myself from that experience.' He is haunted by 'the music / of my rains / and my broken / landscapes' - a haunting made the more poignant (in the context of exile) by his use of imported touchstones, such as fireflies and lime trees, as similes and metaphors.  The wounds of exile, as these poems attest, are not easily assuaged. But surviving the trauma may have much to do with the place of refuge; Humberto is glad that, largely by accident, he and his family ended up in Swansea. The city, whose geography reminds many Chileans of Valparaiso, 'is more than a city,' he says: 'it's a collection of villages.' He is delighted that this, his first collection of poetry (although he has published many poems in magazines and anthologies), is being published in Swansea.  Nigel Jenkins</text>
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                <text>The Sand Garden - El Jardin de Arena</text>
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                <text>Poemario de Humberto Gatica    Los poemas y fotografías en esta colección se relacionan al exilio, desarraigo y memoria, como una necesidad a la sobrevivencia dentro de espacios donde el lenguaje es el único elemento que la sostiene. Palabra Imágen crecen en su reciprocidad en la intención del rescate del Ser en vestigios de naturaleza, culturas, antepasados y silencio y construir la significancia de vivir en la proyección del cada día donde algunas veces azar y destino se tocan o contradicen.    Humberto Gatica.</text>
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                <text>Ana María Pino  Arturo Rivera   Mónica Latorre   Sergio Vásquez</text>
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              <text>Leonel Lienlaf,  El poeta mapuche-chileno nació en 1969 en la comunidad de Alepue, Región de los Ríos. En 1989 publicá  su primer poemario Se ha despertado el ave de mi corazón, obra escrita en mapudungun y español.   En 1990 recibió el Premio Municipal de Literatura de Santiago. En 1998 realizó un disco compacto, Canto y poesía mapuche, financiado por la Embajada de Finlandia.   Otros de sus libros publicados son Palabras soñadas  en 2001 y Voces mapuches en 2002. Recientemente publica el libro Kogen (editorial DelAire, 2014).</text>
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                <text>Conjunto de treinta y siete poesías compuestas en mapudungún y traducidas por el propio autor al castellano. Se trata de poemas cantados, como los que se practican en la traducción mapuche. El prólogo es de Raúl Zurita, Premio Nacional de Literatura, 2000.    íƒél es en idioma mapuche, en mapudungun, el canto, la palabra cantada. "Se ha despertado el ave de mi corazón" es asíÂ­ el canto que despierta, las palabras del corazón que emprenden su vuelo para que los hombres escuchen y con íƒél los paisajes que ellos miran; las montañas, los ríos, la tierra. Todos hablan. La palabra no es un privilegio humano. En una poesía más sabia podemos escuchar el latido de las cosas, su alma.</text>
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                <text>Daisy Muñoz -  Antología Red de Talleres Literarios, dieciocho jóvenes participantes del taller literario realizado con un proyecto financiado por Conarte el cual incluyó poesía y narrativa, participantes que pertenecen a diversos establecimientos de Educación Media y Superior de Valdivia.</text>
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              <text>Pu llimeñ ñi rulpázuamelkaken = Seducción de los venenos / Roxana Miranda Rupailaf ; traducción del español al mapuchezungun: Víctor Cifuentes Palacios.</text>
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                <text>Roxana Miranda  La poeta nació en Osorno, es profesora de Lengua Castellana y Comunicación en la Universidad de Los Lagos y publicó el poemario Las tentaciones de Eva (2003), con el cual obtuvo el primer lugar del concurso de poesía Luis Oyarzún otorgado por la Universidad Austral de Chile. Sus poemas han sido incluidos en diversas antologías. El año 2006 y el 2008 obtuvo la Beca para Escritores del Consejo Nacional del Libro y la Lectura por el libro inédito Seducción de los venenos e Invocación al Shumpall, respectivamente.</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>Verónica Zondek (poesía)- Dibujos y grabados pintor Guillermo Núñez.  Este libro nos revela ”en consonancia con lo anteriormente expresado” el multiverso de la poeta traspasado por las trágicas imágenes del Holocausto. La vívida presencia de la infancia y los personajes familiares; los elementos naturales ”tan presentes en la mayoría de sus libros” como el fuego y su contradictoria esencia de bondad y maldad, fuego de amor y fuego de odio, como el hombre mismo; su amada Gabriela presidiendo un panteón de poetas, de diversas presencias, pero con el común denominador de un arte poética propia; lo político social, con poemas dedicados a luchadores caídos y con menciones al horrendo Big Brother, Fí¼hrer, Gran Dictador, como un Luzbel trifronte, dejando caer su maligna sombra sobre la geografía y el tiempo pasado, presente y futuro. Libro indispensable para entrar en el mundo escritural de la poeta y en su afán palabrístico.</text>
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        <name>Dublin Core</name>
        <description>The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/.</description>
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            <name>Title</name>
            <description>A name given to the resource</description>
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                <text>Palabras de otoño</text>
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          <element elementId="41">
            <name>Description</name>
            <description>An account of the resource</description>
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              <elementText elementTextId="6517">
                <text>Poemario de Luis Soto Padilla.</text>
              </elementText>
            </elementTextContainer>
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          <element elementId="39">
            <name>Creator</name>
            <description>An entity primarily responsible for making the resource</description>
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                <text>Soto Padilla, Luis</text>
              </elementText>
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            <name>Date</name>
            <description>A point or period of time associated with an event in the lifecycle of the resource</description>
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              <elementText elementTextId="6519">
                <text>2008</text>
              </elementText>
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        </elementContainer>
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