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                <text>Edelwais Cortés Kehr - Edelwais Cortés nos entrega su intimidad, los secretos de su alma, con singular sencillez y la secreta fuerza de su propia vida. En este libro encontramos la combinación de inocencia, pasión, delicadeza, ternura y esperanzas.  Día a día se van abriendo las páginas de un diario de vida que es a la vez de una mujer como cualquier otra y de una persona con profundidad espiritual.  Me ha conmovido la belleza de los textos, la sinceridad de las palabras y la presencia de ángeles que brotan de las manos de una escritora que es mucho más que eso: artista de la vida, que entre cuadros, pinceles, lápices, textos poéticos, construye una obra con vista al río y sujeta en el calor de su hogar.  Agradezco a la autora su obra y a Dios por habernos regalado esta flor de las montañas puesta en medio de los ríos,    Jaime Hales / Poeta</text>
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                <text>Antología de poesía -   El lector tiene en sus manos un libro antoíógico que recoge una muestra, variopinta si se quiere, be registros poéticos de autores jóvenes, tobos estudiantes be la Universidad de Los Lagos, campus Osorno. Constituye una notaoíe muestra de lenguajes y actitudes que revelan desde sensibilidades juveniles airabas b)asta tonos contemplativos, profundamente líricos. Todo cabe en la casa bel lenguaje.  Leer estos textos es una invitación a explorar la biversibab be las vivencias be poetas que están en la etapa be abrirse paso en un munbo no siempre amable para los jóvenes, ante el cual ellos están muy lejos be asumir actitudes de cómoba indiferencia. Estas escrituras son, justamente, la evibencia be que la poesía tiene mucho que decir ante una realibab hostil, pero que nunca deja de ser material para metáforas. Y las metáforas, entonces, se vuelven el respiro irreverente a menubo, quizás poco prolijo a ratos; pero respiro auténtico, hecho con eí besparpajo be la tierra en el primer bía be la creación.  Sergio Maansilla Torres    Texto de contratapa</text>
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                <text>Poemario de Oscar Barrientos Bradasic - Los ríos cauces que se llevan la esperanza, páginas líquidas para escribir una historia que transcurre y no se borra, brazos líquidos rodeados de gárgolas pétreas -Â¿la. HistoriarÂ— que nos miran con ojos desleídos, góticos, tumbas de agua que arrastran cadáveres lívidos de muerte por fuego, espejos en tránsito que reflejan nubes tan largas como ellos, | jíos retóricos donde se abrazan Salicío, Nemoroso, Heráclito, juntamente y Walter Benjamín Â—hay otro que también murió por agua, por Auschwitz: Celan- y también el Auschwitz que llevamos todos tallados en la mente de los 70, 80 â™¦â™¦â™¦, largas agonías fundacionales donde se arremolinan los recuerdos y los deseos de los fundadores que son, a la vez, antepasados, colonizadores, rapaces, asesinos, hombres de épicas nuevas, poetas y aventureros, mares perdidos, golfos vacíos, vaciadero de los detritus todos de la ciudad lejana, esa Punta Arenas, en el Finis Terrae, que según Raúl Ruiz se espejea en el cielo tal como fue hace un siglo, e, imagino, vuelve esa ciudad de muertos al río que es, además, silencio, inflamación del invierno, lento crepúsculo, collar de piedra, puñal de esfuma, canción de humo, y la ribera, y de la cual se desgaja alguno y cae al cauce que lo lleva a su propio devenir portuario, mortuorio, demencial, un intestino líquido o contaminado Â—contaminanteÂ— que demora su llegada al mar porque mientras narra atravesando la ciudad puede, a rastras Â—narra con erres raposasÂ— lo que acontece en sus márgenes y lo que de sus márgenes aconteciendo cae en su lecho, esa orografía del desaliento infinitesimal de la era global, pero maculado de barro, lluvia, residuos eáJ?ermáticos, y todos los residuos corporales que la (d)enuncian y con los que podríamos macular la virtualidad, desgarrar el holograma; y es también el río sueño, otra orografía nocturna, la saturnina, onírica, en la que se superponen relámpagos, fuegos fatuos, constelaciones de reflejos inversos (el que entienda que entienda) y, sobre todo, textos arrugados, porosos, viejos y no tanto, que van siendo absorbidos por ese río que ensucia el ensueño de las postales e intercambia el conché de las postales por los tesoros insospechados de los desechos: las monedas devaluadas que los enamorados arrojan con ciega y fatua esperanza en su cabellera legamosa: si Heráclito era él mismo la metáfora del río, el devenir, en este río de Osear Barrientos Bradasic se vara la Historia, y queda ahí como una represa cintilante que detiene no sólo las vidas, sino también, y sobre todo, los detritus que irían a dar a la mar, que más que el morir, es una fosa común en estos (aún) idos y venidos tiempos que corren y se estancan (como el mismo río).  Dejémonos llevar, entonces, por esta metonimia de detritus urbanos y esperanzas varadas, dando la pelea desarmados como los peces de los cristianos primitivos.    Tomás Harris / primavera del 2002.    Fotografías de Rafael Cheuquelaf.</text>
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                <text>Poemario de Guido Arroyo González -   Con una sorprendente madurez, un joven poeta nos sitúa en la desafiante encrucijada de nuestro destino. Nos incita a encarar nuestras pérdidas y a despojarnos del agobiante poder paralizador Que ellas poseen. Recordar u olvidar, en la poesía de Guido, es casi una provocación a resolver el ser o no ser de cada día. Desde la lluvia, el viento, la luna... nos conduce fraternal y generosamente a una introspección liberadora, desprovista de culpas y castigos. Su poesía encara sombras y soledades con la alegría gozosa, sangrienta y atrevida, del descubrimiento de vivir.    Sergio Hernández</text>
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                <text>Bernardo Colipán - Jaime Huenún - Cesar Millahueique - Paulo Wirimilla  PRí“LOGO  Este libro que hemos denominado El Canto Luminoso de la Tierra es un saludo a la palabra de los poetas mapuche de este tiempo. Recoge textos editados e inéditos de cuatro poetas habitantes de distintos paisajes, pero de una sola pertenencia, la mapuche williche.    El canto es luminoso cuando emerge desde la profunda raíz, cuando desde la primera infancia se escuchan los primeros cuentos, las primeras fiestas, y los rasgos de los rostros de un pueblo que propiamente se denomina "gente de la tierra".    La poesía mapuche es un diálogo amoroso con la tierra y quienes la habitan, es una advertencia y una señal para estar atentos a las enseñanzas del universo.    Los poetas mapuche se empapan de misiones y la primera de ella es hacernos visible lo invisible. Es una invitación de respeto y una demanda de vida buena sobre esta acogedora madre tierra, tan ignorada y sometida a la ignorancia civilizada de un resto de mundo llamado civilizado.    Que esta luz y sus penumbras que nos hablan de un mestizage no siempre asumido por nuestra sociedad contribuya en algo a preparar futuras praderas y galopes a campo traviesa, de otros hombres, más hermanos, más humanos.    Bruno Serrano</text>
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                <text>Poemario de Antonia Torres -  "Orillas de Tránsito" es un ejercicio poético que explora en la experiencia doméstica de la relación filial. Para lograrlo, Antonia Torres expande la dimensión del tiempo e instala bajo su arco la metafísica de los objetos, devenidos en talismanes, en sorprendentes hitos de la memoria que sustantivan su discurso, conversacional siempre; cercano al lector común; y sostenido en la levedad de la ilusión, la mejor arma de la poesía: "Si no conversamos la vida acabará pronto / cuéntame alguna historia, aunque sea la nuestra" (Las Secretas Costumbres).  El ánima poética de Antonia Torres se concentra en el estudio de los procesos íntimos de la experiencia del vivir; los cosmos residuales donde se verifica la relación humana; sus triunfos absurdos y los vacíos que sustentan su continuidad.    Clemente Riedeman</text>
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                <text>Poemario de de Ramón Quichiyao Figueroa - Palabra Azul de los Bosques  Eran lugares sin nombre  Los textos tienen sentido en cuanto nombran, explican, connotan y organizan un mundo propio. Y son válidos en cuanto soportan la prueba del tiempo. En el caso de este libro, la dependencia es superada y dicho mundo -precisamente- obtiene carta de identidad en la palabra. En la contrastación que hace posible el despliegue de los conceptos y la configuración del inundo.  Antes de la palabra existía la espera, el tiempo Indetenido, los días y los hombres. Después de la palabra, todo fue desde el lenguaje. En el caso de "La palabra azul de los bosques", ocurre que el mundo y  un componentes logran existir en cuanto se les nombra.  Quichiyao, este es el sentido del libro, establece lo más ostensible: la denominación, el interiorizar lo profundo y palpitante de los lugares, las cosas y -de nuevo la circunstancia. La circunstancia expresada, Los hechos de un tiempo indeterminado y de personas Indeterminadas, el anuncio de la identidad y el perfil hombres en la especifidad de su cosmos, más bien la mirada de él: su cosmovisión, configurada antes de la conciencia del lenguaje.  Pero, lo anterior no tendría mayor importancia si no es porque -instrumento para esculpir- la palabra toma la palabra y comanda el escenario. Y el mundo con sus habitantes pasan a ser designados, estructurándose en ese plano y en todos los planos. Así, habrá nombre para cada cosa: el sobrecogimiento ante la inmensidad del espacio (el mundo) será sintetizado en un concepto, lo mismo una herramienta o las materias. El arraigo dentro de un espacio acotado, pasará a convertirse en el protagonismo demarcado -delimitado- por circunstancias, acciones y -con ello-por la presencia de lo agresivo: conquistador y conquistados en el tiempo. En ese contexto, el bautismo, por lo tanto, ascenderá desde la tierra al follaje, a las personas y a su destino.  Entonces aparece la palabra poetizada, la posibilidad de nombrar con belleza.  Es el instante del autor, interviniendo la circunstancia, en este caso el cúmulo de tiempos, lugares y cosas, una summa, que solamente tendrá asidero en quien dice, nuevo sacerdote que designa ahora otra realidad: la posibilidad del mundo en la palabra, su belleza como nueva categoría.  Azul es el concepto que establece la connotación visual, responde -por lo tanto- a necesidades de concepción cromática para la trascendencia. Su relación, entonces, circulará en torno a dicha piedra inaugural, desde la cual erigirá todo el texto, su sentido, la fundación y desarrollo de la mirada azul para un cosmos  de la tierra, del hombre de la tierra, de la palabra que se Mitrará en el bosque, o redescubrirá llanos y alturas, días y noches, personas y dioses: todo aquello en que  requiere azul.  Todo eso es lo que Quichiyao establece desde la página inicial. Todo ello y mucho menos es lo que había sido escrito, porque el azul obliga ahora a mirar desde  Â• prisma, a través de él, en función de la primera y defintiva mirada del hombre de la tierra, conciencia de la significancia del cosmos, porque la in-significancia fuera de lo azul, las consecuencias de la ruptura con las materias y el mundo, resultan en la imposibiliad de Â« \istir lejos de dicha summa total. Establece nuestro autor, por lo tanto, la dependencia del soporte mayor que es ese azul nombrado, el mundo hecho palabra, la pn K'lamación del respeto y la pretensión de establecer |iÂ» noble, lo limpio: azul.    Valdivia, enero de 2003.  Rubén González L.</text>
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                <text>Poemario de Germán Arestizábal - Germán Arestizábal nos sorprende en libro de poemas el mismo universo alucinante con que nos ha deleitado en las artes visuales y que le reconocen como uno de los artistas chilenos contemporáneos más relé va ntes.  Iconos de la cinematografía como Humphrey Bogart, Edward G. Robinson, Ava Gardner o Greta Garbo, y del jazz como Miles Davis o Louis Armstrong comparten el escenario en la sutil frontera realidad/ficción con personajes y ambientes chilotes o valdivianos, en un ejercicio siempre refrescante para la imaginación y exigente para el espíritu. "Nadie puede volver a lo que más amó", escribe en el. poema Bogart, bellísimo tributo a la nostalgia, bellísima en sí, cuando se vuelve a ella -como Arestizábal- con las armas del artista, no para negar la realidad sino para expandirla, para hacerla más profundamente humana y encarar la jornada como una nueva oportunidad para jugar a ser felices.  Clemente Riedemann</text>
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                <text>Poemario de Clemente Riedemann - Ilustraciones de Ricardo Mendoza Rademacher.   INVITACIí“N A ISLA DEL REY        Hace veinte años, Clemente Riedemann invitaba a Karra Maw'n, tras cuyo nombre -tan "exótico" como casi todo lo autóctono pueda resultar a cualquier chileno- había una geografía física y humana perfectamente reconocible. Ahora, en cambio, un nombre tan familiar a mi adolescencia, me exige atender a todo indicio verbal para orientarme en los paisajes anímicos de Isla del Rey pintados con tonos radiantes o sombríos, pero de trazo siempre firme.  En materia de estilo, para describirlo debo apelar a la llamada prosa poética mejor cultivada por nuestros poetas -Pedro Prado, digamos, Efraín Barquero- aunque tal vez un poco más cercana al verso o versículo en la expresión formal de sus imágenes: el almacigo en que reposan tus padres; no tenía esperanzas, ni eñaba desesperado; el cuerpo del otro como una casa vacía; las tragedias del pasado te hacen hoñezar; tus ojos reúnen en la playa cuanto el mar ha disuelto en la memoria; ardor en las verijas que no saben qué hacer en su capullo...  Siendo así, no es de extrañar que el texto renueve la vigencia de la fábula, género que tan bien se avino siempre al cruce de prosa y verso. Eso sí, a la moraleja, estas fábulas prefieren la reflexión irónicamente desencantada, como ese niño que recuerda una partida de caza con su padre: "Â¡Oh, no quieras ser pájaro nunca! -me decía".  En Isla del Rey se descubren al menos dos narradores protagónicos, y aventuro que uno, el masculino, mira hacia el pasado -a la memoria- y otro, el femenino, apunta al futuro -a la herencia-. Aunque más exacto sería hablar de lo masculino y lo femenino.  Deseo compartir mi sorpresa por este viaje de regreso a los territorios fundacionales de la poesía de Clemente Riedemann. Y mi complacencia porque viaje, vehículo verbal y puerto de arribo, sean tan otros y tan los mismos. Evolución y permanencia. Ahora ya no es el territorio, es un mapa afectivo para que las' nuevas generaciones de lectores vuelvan a la tierra en que fueron semilla. O en que lo fue el autor. Y para que los viejos -ojalá no envejecidos- mantengamos en alto, inclaudicable, un sentido de pertenencia.    Floridor Pérez</text>
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                <text>Entre Bosques y Mareas</text>
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                <text>Poemario de María Luzmira Contreras Oyarzún.</text>
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              <text>Paulo Wirimilla, joven poeta de origen Huilliche</text>
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                <text>El Ojo de vidrio</text>
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                <text>Poemario de Juan Paulo Wirimilla - E1 joven poeta Paulo Wirimilla se incluye en la nueva generación de autores de origen huilliche que escriben desde la intercul-turalidad. Las apelaciones a Vallejo, Borges y José Emilio Pacheco parecen ser las coordenadas que orientan las aventuras del bandidaje rural, en el lenguaje mutro que emerge del cruce étnico y cultural característico de los espacios sureños.  Así, la letanía indigenista, la ranchera mexicana y la baguala pampina hacen la música de fondo de esta "poesía del lejano sur" que alterna el desvarío de la violencia con repentinas visiones ancestrales: "que los ríos vuelvan como lágrimas de otros ríos" (Espero la Llegada de un Gran Espíritu").  Un amplio espacio de dicción le espera a este naciente repertorio que yuxtapone el antiguo decir étnico con el slang citadino que invade la ruka. Una primeriza puesta en escena de la realidad lingí¼ística del sur, donde la convención de la nostalgia retrocede ante el empuje de fas navaias  Clemente Riedemann</text>
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                <text>Poemario de Mariela Silva Salas - Premio Luis Oyarzún 2001</text>
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              <text>Andrés Andwanter               Javier Bello             Germán Carrasco             Julio Carrasco             Nicolás Diáz Badilla             Damsi Figueroa             Kurt Folch             Mario Garciá             Jaime Luis Huenún             Marcelo Novoa             Marcelo Paredes             Sergio Parra             Nadia Prado             Alejandra del Rió             Matiás Rivas             Armando Roa Vidal             Leonarda Sanhueza             Jesús Sepúlveda             Malú Urriola             Jorge Velázquez             Francisco Véjar             Alejandro Zambra.</text>
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                <text>Poemario de Clemente Riedemann - En el Medio del Camino. El señor anónimo en el asiento de al lado; el paisaje planimétrico que asoma en el ventanuco del avión; las rumas polvorientas que enmarcaron la figura del justo hombre que habría anotado el título de este libro en una planilla de la Biblioteca Nacional de Chile; los paisajes brumosos del recuerdo, el dolor fragmentado en unas palabras recién oidas. Persona(je)s, imágenes que no nos son extrañas,  sino reflejos, ecos distantes de nuestros pasos. Es que la poesía de Clemente -su escritura tan cercana a la conversación-, revisa lo vivido, a veces con pasión, otras con esa ironía afectiva que le conocíamos; otras con mesura y como al oído; pero siempre para averiguar su impacto en nuestras vidas. Si nos tenía algo habituados a un sustrato antropológico en sus anteriores libros, aquí (en un brusco golpe de timón que algunos lectores suspicaces habrán previsto) nos ofrece una galería de caracteres que, retratados con ese mismo desenfadado lenguaje suyo, se revelan en el diálogo -no siempre virtual-, al que  asistimos en el transcurso de la lectura. Este es el más íntimo de sus libros. Pero no por introspectivo, sino por revelar, de principio a fin, los duraderos o circunstanciales afectos que crearon los individuos con quienes compartió una parte del camino; aunque es también, de un modo elíptico, una forma de autorretrato: el que surge de la compilación de estos retratos, y que parece decir: Esto es lo que amo.  Ricardo Mendoza Rademacher</text>
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                <text>Poemario de Bernardita Hurtado. Bernardita Hurtado es capaz de ver, palpar, oler la planta que aún no se despereza. Conoce corrientes de agua que bajan heladísimas desde la cordillera. Su ventana da al cerro, en realidad cualquiera de las ventanas de su casa se enfrenta a los muros de piedra que sobrevuelan cóndores. Más que ventanas son enmarcados de madera sobre un rostro que busca ansiosamente un resquicio en esa vida que dure algo más que la temporada, que resista tanta nieve, tanto abandono.  El miedo de fluir en un cauce que pocos o nadie comparte es común a todo escritor; sin embargo, en Bernardita este temor se amplía por cuanto ella busca a los otros, le hacen falta para completar su mirada. Conviven en ella la vidente que escarba piedras para exigir el violento color de las flores y la mujer sensible que se aletarga y enmudece en una comunidad donde comentar libros, películas, atardeceres no es ninguna prioridad. Vestirse para seducir sombras. Hablarle a los niños de sus últimas lecturas.  Su poesía es la extensión expresiva de este continuo: versos cortos que fijan delicadamente los rasgos de un mundo estrecho que la obliga a nombrar la espera una y otra vez. Entre la neblina parece buscar el asidero del pasado, el peso rotundo del mundo doméstico. Es insistente su afán por adentrarse en los pequeños actos cotidianos tratando de arrancarles sentido, trascendencia para, por sinécdoque, cubrir la vida toda de un valor nuevo.  Pero los cerros. Pero los días eternos, unos iguales a otros, porfiadamente agreden la esperanza.  Los versos de Bernardita Hurtado logran dar cuenta de un mundo personal, de una vida y una actitud: la dulzura de quien tiene conciencia pero no actúa para eliminar un estado de cosas. Su palabra traspasa emociones, entre ellas la tristeza de sentir la debilidad de lo bello, la barrera que se forma entre el esplendor de desear y lo mínimo de las construcciones humanas.  Rosabetty Muñoz</text>
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