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Además, fue la Coordinadora académica del Diplomado en Fomento lector y Lij, impartido por la misma casa de estudios.&#13;
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otros libros textiles, escritos y elaborados por ella.&#13;
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                <text>Poemario de Daniela Senn -  En Extinción de Daniela Senn propone una materialidad textual interdisciplinaria cuyo relato, biografía híbrida que busca destruir y así rearticular su sustrato referencial de pastiche, insinúa el gesto lúdico del travestismo teórico, de las armas visuales y del residuo de la tentativa de una antropología poética en pos de reconstituir la taxonómica que se deduce tras al menos cuatro o cinco años regeneración de adoctrinamiento yippie en la clase humanística-antropofágica de nuestras universidades; es parodia - sin mácula-de sí misma, como pastiche de sí que asume los grandes relatos de la derrota, la que en esta autoría simplemente carece de sustancia ya que el discurso se nos constituye como un deseo que no exige legitimación alguna, ningún gesto fundador ni la erección de ninguna mitología del sujeto.    Bruno Serrano Navarro</text>
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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>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>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>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>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>Te cuento mis versos</text>
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                <text>Ana María Pino  Arturo Rivera   Mónica Latorre   Sergio Vásquez</text>
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                <text>Pino Hernández, Ana María</text>
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                <text>El Kultrún</text>
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                <text>COLECCIí“N BIBLIOTECA DE LA PATAGONIA</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>Santiago de Chile</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>Lienlaf, Leonel</text>
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                  <text>Poesía </text>
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              <text>Muñoz Huito, Daisy, Chilena. Profesora de lenguaje y Licenciada en letras de la Universidad Austral de Chile</text>
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                <text>Red de Talleres Literarios</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>Pu llimeñ ñi rulpázuamelkaken = Seducción de los venenos</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>Miranda Rupailaf, Roxana</text>
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                  <text>Poesía </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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                <text>Zondek, Verónica</text>
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              <text>Poetas: Alexis Donoso / Bruno Serrano Navarro/ Diego Lazarte / Elena Fuentes/ Galo Ghigliotto / Javier Norambuena   Jorge Cid / Leticia Cortes / Lorena Tiraferri/ Marcos Arcava / Mariela Malhue,  Milton Leiva / í“scar Saavedra/ Rafael Farías / Vanessa Martínez</text>
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              <text>He aquí un libro que me enorgullece. En él han colaborado varios de los mejores poetas mapuches de nuestros días. A continuación algunos anticipos de esta antología poética. (En esta breve selección no incluí ningún texto en mapudungun, la lengua mapuche, de los cuales hay sí muchos en el libro).       Introducción: "Que llueva"  Graciela Huinao :  La Máscara del Hambre  Elicura Chihuailaf :  La llave que nadie ha perdido  Leonel Lienlaf : Bajan gritando ellos sobre los campos  María Teresa Panchillo Neculhual : Que nuestra vida continúe  Roxana Miranda Rupailaf : Evas / Rituales  Weuwen Nagtí¼l (Manuel Nagantu) : Desde el encierro  David Aniñir Guilitraro : Mapurbe  Bernardo Colipán : Y también un día como las garzas soñamos...  Paulo Huirimilla : Ulkantun para la Poesía  Salvador Marimán : La Señora Marta  Carmen Curiche : Padre  Adriana Paredes Pinda : Memorias  Maribel Mora Curriao: íœlkantun, V  Prólogo de Osvaldo Bayer</text>
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              <text>Agua fuerte es una técnica de grabado, el libro tiene esa analogía de grabado del metal sobre el metal para la impresión. Nuestras cicatrices y arrugas vienen siendo un agua fuerte de la propia historia de nuestras vidas. El ser un 80% agua nos rige la vida en fluidos, como las lágrimas, la sangre, etc.&#13;
&#13;
“Agua fuerte” muestra la visión del poeta frente al lenguaje y la sintaxis y nos invita a ver una cuidad donde nos movemos tranquilos casi sin luz, pero con la seguridad que nos entrega los versos de González.&#13;
Y como lo dice el mismo autor debería bastar con un libro lleno de poemas y no con una biografía , ni comentario. Aludiendo quizás a la contratapa de su libro que es una referencia general del poeta como un personaje mas de una generación, y que viene siendo una invitación a leer poesía.&#13;
&#13;
Fuente: https://bibliotecapaulharris.wordpress.com/2008/06/23/presentacion-libro-aguafuerte/</text>
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                <text>Poemario de Ricardo Herrera Alarcón - Para ser escritor no se requiere título ni grado académico alguno, da lo mismo si en el colegio eras científico, humanista, o un buenoparana-da: como en los nosocomios o lupanares, se acepta de todo. Â¿Pero qué es lo que convierte a una persona en escritor? Â¿Malformaciones genéticas, traumas, la falta (o exceso) de afecto cuando niño? Alguien aventuró que los escritores eran una especie de subraza, contestaría, insurrecta, amoral, portadora de frases ingeniosas y malas costumbres, que extrañamente mantiene cierta imagen de decencia. O tal vez se trate simplemente de una sana (o malsana) neurosis que se apacigua sólo escribiendo textos. Como sea, y aunque suene un poco rancio en la era digital, un escritor se convierte en tal al publicar un libro.  Mauro Campos debuta como narrador (fauna escasa en el sur de Chile) con este excelente libro que carece de lo usual en los textos iniciáticos: aparte de la promesa, hay oficio, cuentos reposados y revisados, lecturas, relecturas, entretención, esa aparente simpleza de la buena literatura. Cuando Truman Capote publicó Otras Voces, Otros ímbitos (su primera novela) a los 23 años, y la critica alabó -como una especie de milagro literario, a la manera de la biblioteca de Babel de Borges-, que alguien tan joven escribiera casi por simple azar, esa excelente novela. Capote replicó: de qué se extrañan si llevo como diez años encerrado escribiendo. Campos no tiene veintitrés, pero lleva varios años escribiendo, eso se nota y se agradece al leerlo.  Sus cuentos son variados, logra con soltura diferentes voces y matices; no hay una temática recursiva ni un estilo que se repita, a ratos más parece una antología de varios autores. Son comunes la coherencia interna entre el tema y la forma, entre el tono y la manera de abordar la narración, el estilo pulido, el humor en todas sus variantes, desde la ironía hasta la fresca sonrisa de la ternura, se reconoce la justificación de la literatura como algo placentero, una especie de acertijo cognitivo, un regalo para el que quiera leerlo, como un juego de ingenio o una buena conversación.  Así entonces Mauro Campos ya puede colgar en el living de su casa el titulo de joven escritor latinoamericano (quién sabe qué significa tal constructo), mostrarlo a los vecinos, a su gato y a su ejecutiva bancada. Mientras nosotros disfrutamos de sus cuentos.  Yuri Soria-Galvarro R. / 2008</text>
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              <text>Autores antologados:  Lorenzo Aillapán, 1940 /  Liliana Ancalao, 1961 /  Cristán Antillanca, 1974 /  David Añinir, 1970 /  César Cabello, 1977 /  Sonia Caicheo, 1943 /  Jacqueline Caniguán, 1970 /  Víctor Cifuentes, 1977 /  Marcial Colín, 1970 /  Bernardo Colipán, 1966 /  Emilio Guaguín, 1975 /  Jaime Luis Huenún, 1967 /  Omar Huenuqueo, 1971 /  Graciela Huinao, 1956 /  Paulo Huirimilla, 1973 /  María Isabel Lara, 1979 /  Carlos Levi, 1968 /  Leonel Lienlaf, 1969 /  Ricardo Loncón, 1956 /  Faumelisa Manquepillán, 1960 /  Tamym Maulén, 1985 /  César Millahueique, 1961 /  Roxana Miranda, 1982 /  Maribel Mora, 1970 /  Ramón Quichiyao, 1951 /  Erwin Quintupil, 1958 /  José Teiguel, 1960 /  Miriam Torres, 1970 /  Héctor Véliz, 1960</text>
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                <text>Poemario de Lucía Orellana - La poeta Lucía Orellana, continuando una línea ya expresada y conocida de su poesía, nos ofrece en este nuevo libro una propuesta plena de humanidad y lirismo. Se trata de un lirismo que nace de la humanidad y de una humanidad que nace de su lirismo. Sin pretender un juego fácil de palabras, queremos expresar con esto que la palabra poética de Lucía se nutre de un profundo anclaje en la realidad inmediata. Ella, la poesía, emerge de cada capítulo vital de la hablante lírica, desmenuza formas y modos de relación, los hace transparentes y formula cada detalle o cada secuencia con una diafanidad que se logra después de mucho observar, de mucho vivir, de mucho sufrir y de mucho comunicarse con las cosas del mundo.  Una columna es sencilla, se dice, pero no es simple. Al interior de esa forma geométricamente instalable en la pintura o en la fotografía o en el esbozo rápido, en el pestañeo pasajero, hay un interior lleno de bullente complejidad. Desplazamientos subterráneos, corrientes y fuentes incontenibles, formas y vacíos y sinuosidades que sostienen esa forma aparentemente tranquila y asimilable en la mirada. Así la poesía de Enarbolando Mares se va fundiendo poco a poco, en la lectura tenaz y atenta, de toda una geografía expresiva llena de sentido, mensajes y guiños de la experiencia. Está en nosotros, los lectores, ser capaces de involucrarnos y entender y dialogar con esa sutilísima en intensa provocación de la palabra. Con esa llama viva.  Saludamos esta nueva entrega de Lucía, poeta de la intensidad y la fragilidad, de la perspicacia y de la inocencia (inocencia que no es ingenuidad, ojo), inocencia de saber ver el mundo en todos sus quiebres y bondades, en toda su majestuosa tortuosidad y dulzura. Y enfrentarlo y abrazarlo desde la poesía.  Hacemos votos porque este libro circule con nosotros este año de gracia de 2007.    Ornar Lara  Director de la Revista de Poesía Trilce Valdivia, marzo 2007</text>
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                <text>Antología. Taller Literario, Universidad Austral de Chile.</text>
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                <text>Poemario de Clemente Riedemann - Cí“MO NO VER EN ESTE ATREVIDO E IRREVERENTEPOE-  ma narrativo un paralelo entre el destino del poeta y el del corsario, ambos empecinados en su propia Odisea, ambos sujetos a los ayatares de una existencia que bordea y trasgrede los límites, ambos empeñados en una empresa que vacila entre el deseo y la muerte, entre la  gloria y la derrota final.   Manuel Silva Acevedo  HABIENDO PERDIDO AL DIOS-PADRE, BROUWER, Â«Holandés erranteÂ», vive en la conciencia popular y deviene en una especié dé memoria histórica de la comunidad, que evalúa el desarrollo del capitalismo entre el siglo xvii y el xxi y mira retrospectivamente la historia de Valdivia y su propia historia personal, donde se entrecruzan y se: igualan la voz del pirata y'la del poeta.  Ana Traverso  LA ODISEA DE BROUWER, NAVEGANTE DRAMíTICO, ES-carba en los horizontes de una existencia que se sostiene  entre la voluntad fundacional y la inevitable'épica del  naufragio.   Personaje conradiano que asciende al más  allá donde se redimen los que perdieron la brújula.  Oscar Barrientos Bradasic</text>
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                <text>El Kultrún</text>
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