The most significant cyberpoets at the time of the end of the borders arrived with the Internet continue to perceive the paper book as a model of prestige against the digital world.
There is no paradox, because support is simply a vehicle for expression. To understand the opposite would be not to understand the technology of a moment, a means for voices without a channel, a culture where to self-represent and look for identity.
It would also be a disregard for established generations towards digital writers born between 1980 and 1990 to distrust the capacity for self-criticism and knowledge of these emerging promotions in the digital era.
Digital flood
These poets, from different worlds and qualitative ranks, even ages, are generally very aware of how democratization and indiscriminate access to the network implies a means to be seen without a filter.A showcase where many proposals fit and a flood of poems of crisis, affective drives or immediate discomfort, and from which prosumers (producers and consumers) feed.
They know it as well as that prestige comes from the book written on paper, even if the medium does not do the poem.If some of the icons of this poetry show it, the influential Marwan, Luna Miguel and Elvira Sastre, just to mention three names of how much hypertext and youtuber landscape, of chats and blogs, with an unusual number of books in the most influential publishers and other more alternatives.
The large groups, always attentive, have perceived the business of instant culture.These easy and generational texts, nonconformists, young writers and little trade or excessive quality (there are exceptions), but with enough against the vomited text and immediately from so many others, they sell more than some members of the generation of 27.And they have found a seat in related publishers such as La Bella Varsovia, Valparaiso, Casimiro Parker, Crab Gunman Editions, El Gaviero, already stated in poetry, as Visor, and large groups, as Planet.
Certainly one thing is sales, communicability, and others the trade and prestige.This consecrates and dictates time against to the culture of the immediate and its multiplicity without a lattice .The proliferation of texts implies as much openness as opacity in the digital environment, impossibility of discrimination in the open and shared space, for the mass.
Paradoxes, in short, of the digital era, where some poets have published in ten years more than some of the great names of contemporary poetry in their entire lives. Luis Alberto de Cuenca is quite right to speak of Parapoetry in general terms, or a lyric of parapharmacy, in front of the pharmacy. Nor should we forget that much of the poetry in Spanish in the book is insignificant and not very memorable, as Auden advocated.Not that many authors pay to edit their books in publishers of more or less prestige (when it is not published by influence), and without talking about suspicious prizes.
Neither fall into the manicisms of high and old culture with maximalist origin, or personal issues, too obvious at times.Rather talk about talent and trade as a nature letter of the poem , prospecting, of artifice or "beautiful coverage," as Marques de Santillana wrote.Art needs time and artifice, knowing how to tell the world itself, when not everyone is precocious like Charles Baudelaire, Claudio Rodriguez or Arthur Rimbaud.
The new generation of young poets
In any case, as we have said, the first and second digital generation arrive well prepared in academics, since a good part is university.
A brief review of some of the most striking names speaks of graduates, doctors in some philology or in the theory of literature, journalism, philosophy, art, translation...They are curricula with masters, stays and contracts in European universities and North American, of teachers in middle education or members of liberal professions.
They do not live in isolation but are part of cyber literary communities. They are members of a network where thousands of writers weave their verses.And surely there lies the danger, for saturation and indiscrimination help both to be seen and to the contrary.
"One hundred times," by Elvira Sastre.
The trajectories and preparation in that digital jungle are in that immeasurable magnitude, multiple and differentiated (that's why the anthologies were created several centuries ago). Now, if the reader asks about quality levels, why To put it bluntly, we must answer that there are and they are also clear and remarkable.
There are texts without any literary filter, lacking resources or ornamentation, and where the self-representation and denunciation of a personal or social unrest premium, along with others of higher level and that have reached the printed edition.And that despite some speeches against the traditional ways of the market.
The 15-M in that sense led to a return to the anti-utilitarian and social court sophlamas, of a proposal for the collectivization of the means of production, where the poem is considered in some cases by its weight political (Alberto Garcia-Teresa), and where it is part of a gear or superstructure, an added element that wishes to change the reality of the world in its neo-liberal classism and mercantilism.
At his side, the personal restlessness of others merges with the texts and performances coming from the dematerialization of the artistic object that Lucy R.Lippard promoted in the middle of the previous century.In spite of everything, Most of the texts embrace realism or avant-garde heritage in their formula (in addition to rap, song lyricism, mix and mash-up of the mixtures).
New lyrical communities
We are therefore facing a sea of trajectories in the most interesting cases , and where some names like Berta Garcia Faet or Maria Salgado, next to this new activism, stand out (and not only them).
These lyrical, open, multiple and polyhedral communities, meet in digital magazines and workshops, websites and blogs, as shown by the Kokoro Magazine , are therefore explicit in their intentionality. Vertebra voice.Future poetry anthology , the call Poetry Slam Madrid or the Euraca seminar, to name some of the most participated and visited.
Its members are more or less coincident or militants of that desire to take the poem beyond the printed book (although some confess that the digital world is a stadium before the prestigious publishers).They are communities without theorists, despite some anthologies and militant or combative essayists like Vicente Luis Mora, Alberto Santamaria or Garcia-Teresa himself.
The millennials are a fact in search of a market more or less paradoxically, but also a proposal especially theoretical and vital from the nonconformity with the inherited, sometimes taken from low cost eyes , and sociologically raised against the received.Another thing would be unthinkable in a global world full of new challenges, challenges and differentiated peculiarities.Not understanding it by the predecessors would be a cultural suicide, and not discriminate their art, too.In any case, two digital generations are still doing or in search of qualitative artistic voice after the major or minor bluf of the Nocilla generation.
generational identity against the
They will find it without a doubt, because not everything will be attacks on intermediaries of the so-called high literature or complaints against neoliberalism, where sometimes a diabolical game is hidden, that is, a generational identity against something, but incapable of propose in the artistic. Poetry is not measured by the number of sales, although certain direct, resistant and vindicating speeches of a situation, fall immediately from the subject. That is the core of success, along with an effective propaganda based on the "hated" market.There is no proposal without contradiction.
Young people have found their media opportunity and we must understand it, celebrate it, from that sociological perspective of the image and the network. Also demand quality, stop being brand and market at all costs, seek recognition outside the instrumental blog or mass diffusion for an untrained public.
Its real growth against the culture of the ephemeral and self-representation (of the FOBO or Fear Of Being Offline ), its real visibility, beyond liquid modernity and the theoretical alibis of the end of the great stories to justify their marginality and disenchantment, will be in maturing, in knowing how to say and grow, like good wines.
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