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              <text>Lienlaf, Leonel, 1969- Poeta mapuche. Nació en Alepué, 23/06/1969.</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>Editado por Carlos Aldunate y Leonel Lienlaf Xilografías de Santos Chávez acompañadas por poemas de - Palabras soñadas Canto de machi Historias del fogón de Alepué   Sueño azul   Estoy de pie   Nací para ser tejedora   Poemas alados   Los napí¼lkafe, viajeros del wallmapu, en el antiguo paisaje mapuche   Kallfumapu: el paisaje del horizonte infinito y azul</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>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 - 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>El Kultrún</text>
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                <text>Poemario de Mariela Silva Salas - Premio Luis Oyarzún 2001</text>
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                <text>Eds. Leviathan</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>poesiá chilena reciente</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>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>Enrique Valdés (Río Baker 1943-2010). Aysenino, poeta miembro fundador del grupo Trilce, narrador de alto vuelo, violoncelista de las más importantes orquestas de cámara y sinfónicas, Profesor Normalista y de Estado en Castellano, Dr. en Literatura Hispanoamericana y Académico, pertenece a la llamada Generación de la Diáspora, escritores que tuvieron radicales cambios en su vivir como producto del golpe militar de 1973 y posterior dictadura. Recibió numerosos premios tanto por su obra poética como narrativa y ensayística.</text>
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              <text>Poesía Categoría A (6 a 10 años):  Primer lugar: Angélica Rebolledo  Segundo lugar: Matías Aranciabia  Tercer lugar: Daniel López  Menciones Honrosas  Pablo Ihnen Jory  Víctor Seopúlveda  Mariela Antimán Millaldeo  José Luis Canales  Claudia Alvarado Silva  Paulina Held Montaldo  Cristian Vidal Hurtado  Marcela Alvarado Silva  Marilyn Morales Silva  Moisés Gallardo  Nathaly Andrade Solís  María Cid Cárdenas  Pauletie Aillapán Mardones    Poesía Categoría B (11 a 14 años):  Primer lugar: Isidora Edwars  Segundo lugar: Rafael Montecinos  Tercer lugar: Natalia Sepúlveda  Menciones Honrosas  Juan Vera  Sergio Barría  Juan José León  Alejandro Yañez Martínez  í“scar Caileo   Carolina Navarro Quilodrán  Bernardita Barcárcel Saldías  Alejandra Rojas Rebolledo  Viviana del Carmen Contreras Fritis  Emilia Solis Herrera  Andrés Concha Salgado    Narrativa Categoría A:  Primer lugar: Isabel Letelier  Segundo lugar: Natalia Herrera  Tercer lugar: Ricardo Méndez  Menciones Honrosas  MlCHELLE Lasalvia  Catherina Van Aken Acuña  María Jesús Várela Contreras  Carolina Reyes  DOMMQUE DE VlLLERS  Fabián Cáceres   Antonio Vicuña   Ignacio Pilasi   José Gil Pfejl   Cristóbal Pradel Silva     Narrativa Categoría B:  Primer lugar: Cecilia Barría   Segundo lugar: Ma Jesús Espinoza   Tercer lugar: Francisco Bustos   Cristian Malebrán   Menciones Honrosas  Camilo Torres Farfán   Antonia RIvas Palma   Raimundo Aburto Guevara   Nora Fredericksen Neira   Francisco Vera Hott   Victoria Aránguilz Lobos   Bárbara Orrego Maturana   Inti Rivera Ramos</text>
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