André Cruchaga- El Salvador

El poeta, profesor e investigador André Cruchaga nació en Chalatenango, El Salvador, en 1957. Su obra poética abarca numerosos títulos publicados en libros y también en publicaciones periódicas, y una parte significativa de ella ha sido traducida a otros idiomas. Es encomiable su quehacer en la promoción de la poesía en general, de lo cual da fe su antología on line Arte poética. Rostros y versos, de la cual ofrecemos un enlace directo a la entrada de su propia obra. De sus trabajos de pensamiento puede ver una muestra en su blog Laberinto del Torogoz, y en su bitácora Álbum nocturno, un poema suyo. También pueden apreciarse sus versos accediendo a sus blogs personales El cielo a caballo y Cuaderno del zorzal. Como se verá, Cruchaga se desenvuelve fundamentalmente en la poesía en versos libres, pese a lo cual accedió fraternalmente a nuestra solicitud enviándonos estas décimas, para las que escogió el difícil metro 
decasilábico.


The poet, professor and researcher André Cruchaga was born inChalatenango, El Salvador, in 1957. His poetry covers many titles published in books and periodicals, and a significant part of it hasbeen translated into other languages. It is commendable their workin promoting poetry in general, which attests to his poetic art onlineanthology. Faces and verses, which offer a direct link to the entry ofhis own work. Thought of their work can see a sample on his blogTorogoz Maze and Night album on his blog, a poem of his. His poems can also be seen by accessing their personal blogsHeaven Notebook riding and thrush. It will be seen primarilyCruchaga unfolds in free verse poetry, yet they agreed to our request by sending fraternal these tenths, for he chose the difficultdecasyllabic meters.http://www.artepoetica.net/datos.htm

Zeilton Alves Feitosa

http://www.feitosa.net/

ZA Feitosa - Writer

Does anyone remember the unusual pleasure That dyed ZA Feitosa's poetry and the throbbing eroticism, sometime obscene, That permeated his prose? The Fact Is That ZA Feitosa was a virtual unknown in 2006 rediscovered When the literary creation, the relative notoriety Despites That Reached ITS texts in the early '80s. The work of ZA Feitosa is strongly marked by the rare combination of lyricism and fri. It is truth, However, That this mixture of elements, although Several, just widen the artistic dimension of his prose and his poetry. What's better in ZA Feitosa is, without doubt, his imaginative and irreverent side, regionalism and a captivating and unusual metaphors, Which temper his work. That is the formidable ZA Feitosa is on the Internet, surrendered unconditionally to the power of the net after breaking in 2007, of an unfair literary silence of 22 years.

ZA Feitosa - Writer

Is there any record of that voluptuousness unusual dyed ZA Feitosa's poetry, and eroticism throbbing, sometimes obscene, that permeated their prose? The fact is that ZA Feitosa was a virtual unknown in 2006 when rediscovered the literary production, despite the relative notoriety reached its texts in the early 80's. ZA Feitosa's work is strongly marked by the rare combination of lyricism and sex. It is true, however, that this mixture of elements, although different, it simply amplifies the artistic dimension of his prose and his poetry. Best of ZA Feitosa is undoubtedly his side imaginative and irreverent, and regionalism captivating and unusual metaphors, which temper his work. The formidable is that ZA Feitosa is on the Internet, surrendered unconditionally to the power network, after breaking up in 2007, an unfair literary silence of 22 years.

ANDRÉS MORALES

LA PÁGINA DE ANDRÉS MORALES

martes 6 de septiembre de 2011

PRESENTACIÓN DE "ANTOLOGÍA BREVE" DEL POETA CHILENO ANDRÉS MORALES (MAGO EDITORES) EL JUEVES 15 DE SEPTIEMBRE A LAS 19:00 HORAS EN "LA CHASCONA" (FUNDACIÓN PABLO NERUDA)

Mistletoe

from "Pleroma's dew"

Pine needles have bloodied your feet
you are in Love I see and pleased so much I am

nor do I see any regret from your innocent Love; for
in this balance I breath and stretch my wings
to the heights of the white cloud

my habitat below the crown of the Oak;
we salute each other and receive growth
from your Love;

radiates everything good including blessing
the breeze and the smell of resin fulfils; not only you

the bushes shakes and hides the coitus
of the rabbits and

the strawberries blooms the red fruits full of passion
with their secrets exposed on their skins

Forest is a vast Ocean for those in Love
bare naked you may walk; the evergreen

shall cover your shyness; if you are so;

Phillip Larrimore

ARTIST STATEMENT

These are paintings which can be literally looked into, layer by layer, with altering fields of depth, which change according to the angle of approach, and which recombine when one stands still. They are in a real sense a record of problems set and problems solved. My first work originated in a fascination with Leonardo's deluge drawings, which seemed to x-ray the motion of water and animate it on a page. How to make the visual equivalent of the polyphonic music of the Renaissance was my other initial concern. I wanted to make a painting like a fugue. I wanted to make a painting which the viewer animated. And I wanted to do this using little or no technology, unlike a hologram. My first work was studies of fire and water. Someone compared them to animated Monets. I have since explored depth, and pattern, perspectival space and multiple perspectives, architectural subject matter, and most recently realist and figurative work, all of this building to the future work I hope to do. Several meticulous copies of Audobons executed on six scrim layers were done in order to understand wing structure and pterolography-- or the proper placement of feathers--prefatory to paintings I plan to do representing birds in flight. A long-term obsession with Kaspar David Friedrich's "Arctic EXpedition" (improperly but more accurately called "The Wreck of The 'Hope'") lead to a series begun but not ended about the Shackleton expedition. And a sense that my more abstract pieces did not engage my sense of history, and historical tragedy, lead to a series of paintings --studies for an ongoing project--depicting the Dresden bombings and the killing fields of Cambodia. Each of these explores depth and space in a different way, according to the subject matter. To "pun" with the ship's riggings among the different layers of screen became part of the problem in the Shackleton paintings. To dimensionalize the shimmer of feathers of a great Tern. This is why I have gotten to human bodies only recently. Why do I work this way? My argument with artists statements--beyond the fact that the prose is usually execrable and the philosophy specious--is that we don't really know why we are haunted by certain questions and indifferent to others,and so such statements tend to be elaborate edifices around unanswered questions. Years ago, I did a year's drawings attempting to translate the imagery scintillating on what is called in Ashram circles "the third eye". Each dot of these drawings was done uttering a prayer. That seemed direly necessary then, and then it seemed something that I had learned to do, and no longer needed to do. Likewise the studies of water motion, of bird feathers, of Giambologna's Mercury Taking Flight--who I have skimming the waters of the Styx. Do the next thing.
PROCESS
The screen paintings initially used three to four layers of aluminum screening, each painted with a different but related image, which were hung at four inch intervals before and/or behind each other. The four layered paintings of this first period of my work hung 12 inches off the wall, the first screen usually being hung on the wall itself. I have consistently modified the process according to the area of inquiry and subject matter. The most "realist work" of the last year hangs four inches off the wall with an interval of an inch between each layer. The paintings investigating the use of perspective are about six inches deep[ but appear much deeper. The paintings investigating the play of pattern against pattern are about three inches deep. Usually the screens are hung with wire from the ceiling. I like to keep them "loose" so that the circulation of air causes them to "breathe".
MIRRORS
The mirrors are two panel corner pieces, each panel reflecting into each other. I have recently started to adapt some of these earlier pieces to make three-sided pieces in boxes.

DIOGEN

AUTORIMA...ABOUT OUR AUTHORS

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4.9.2011.
Čestitamo našem autoru Fahrudinu Shehuu, književniku iz Prištine, Kosovo -
 na objavi knjige u Portugalu, 2011.g.

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http://diogen.weebly.com/o-nascaronim-autorimaabout-our-writers.html

Shehu boton libër në Portugali

Fahredin Shehu, shkrimtar i sukseshëm shqiptar, krijimtaria e të cilit në vazhdimësi po përkthehet në gjuhë të ndryshme anekënd botës, ka dalur me libër në Portugali.
“Christaline Echos” apo “Jehona kristaline” përmbledhje me poezi, është botuar nga shtëpia botuese Corspos Editora. Libri është botuar në formatin tradicional dhe si e- book. Ky nuk është libri i parë i Shehut në gjuhën angleze. Ai ka botuar edhe libra të tjerë në anglisht, dhe është përfshirë ne disa antologji botërore.
Shehu ka qenë i vetmi pjesëmarrës nga Kosova në Festivalin ndërkombëtar të poezisë në Lodeve të Francës, e së fundmi edhe në Festivalin ndërkombëtar të poezisë në Strugë.

Crystaline Echoes- Corpos Editora- Portugal

Book. 2011.
"Chrystalline Echoes."
Fahredin Shehu.
Delivered by mail / Delivered by mail.
ON SALE!
€ 15.00 incl.


http://www.worldartfriends.com/store/1219-fahredin-shehu-chrystalline-echoes.html

Reading in Lodeve

Poetry Reading, Fahredin Shehu, Mathieu Zebe, Jean Charles Depaule

La chamele restaurant, Lodeve, France

Hajjr bint Nasr, Anissa Mohammedi, Ivan Hristov, Ismail Fakih, Fahredin Shehu