The Madrid Review is now available...

The new issue of The Madrid Review is now available for download via a link on the main page of their website (see here). It includes lots of excellent original poetry, plus my article titled ‘La Poesía de la Experiencia in Spain, from the 1990s to the present day’. You can read it in full in the journal itself, but here's the first paragraph as a taster...

Literary terms and labels often shift in meaning over the years, and La Poesía de la Experiencia in Spain is a prime example. Its connotations have changed over the last thirty years with a focus on the evolution of two contemporaries, Luis García Montero (born in Granada in 1958) and Karmelo C. Iribarren (born in San Sebastián in 1959). Rather than invoking a changing of the generational guard, we’ll now look at how the reputations of these two older poets have developed...

Review: Un invierno propio, by Luis García Montero

Out of all contemporary Spanish poets, I've long thought that Luis García Montero has the greatest chance of finding a U.K. readership. This is largly thanks to his idiosyncratic blend of influences, ranging from Larra and Lorca to Auden (via Gil de Biedma), all topped off with his personal and literary experience of having reached adulthood just as the dictatorship was imploding and liberty exploding.

His latest book, Un invierno propio, very much confirms that impression. García Montero has always been associated with the so-called "poesía de la experiencia", yet his previous work was still littered with overt allusions to the Spanish literary canon, as if he felt obliged to prove his erudition in the face of accusations by his contemporaries of being overly "facile". In Un invierno propio, however, García Montero seems to be ever more comfortable with his personal, intimate yet direct voice. Many Spanish poets seem to disappear into their own esoteric ambitions with age, but García Montero is taking a far more exciting, opposite route: ignoring many critics' sniffiness, his poetic project is now unique in Spain in the depth that he achieves without a shred of pretentiousness.

One example of this new-found extra confidence can be found in the opening lines of Hay aviones que despegan desde ningún lugar y que aterrizan en ninguna parte:

"Nadie puede bañarse en lágrimas dos veces
en el mismo aeropuerto..."

"Nobody can bathe in tears twice
at the same airport..."

Both this begininng and the poem that follows stand alone as excellent verse. García Montero finds no need for overt allusion or quotation. Nevertheless, there are implicit nods to Ängel González and his Glosas a Heráclito, which contains my favourite lines in 20th Century Spanish poetry:

Nada es los mismo, nada
permanece.
Menos
la Historia y la morcilla de mi tierra:

se hacen las dos con sangre, se repiten.

Nothing is the same, nothing
remains.
Except
the History and black pudding of my homeland:

both are made with blood, they repeat.

In other words, García Montero provides the reader with two equally valid routes. The allusion's there but it isn't rubbed in our faces: unlike with much contemporary Spanish poetry, we aren't being made to feel we have to pass a test of our erudtion before the poet grants us access to his work.

Another example of García Montero's growing surefootedness, meanwhile, is in my favourite piece from the collection, titled La tristeza del mar cabe en un vaso de agua, in which his eschewing of fireworks brings with it a gorgeous, direct lyricism that I won't quote, because its simplicity would render it ridiculous in a limited quote. I recommend getting hold of the book, downing the poem in one and then going back to savour it, sip by sip.

In conclusion, if you've got a working knowledge of Spanish and feel like "taking on" contemporary Spanish poetry, Luis García Montero's Un invierno propio is a terrific point of departure. For me, it's his best book so far.

Jaime Gil de Biedma

"I dress and drink like an Englishman".

This quote is from Jaime Gil de Biedma, a key figure in 20th Century Spanish poetry. It hints at many of the paradoxes and layers to be found in his character. An upper-class Marxist who had to hide his bisexuality in Francoist Spain, his writing is often labelled "Poesía de la Experiencia". In fact, Gil de Biedma's poems play with the notion of experience and identity, drawing on the hypocrisy that necessarily formed part of his life.

Gil de Biedma's wealthy family enabled him to travel widely. He spoke excellent English and spent time in the U.K., where he read avidly and came under the influence of Auden's poetry. It's important to bear in mind that Gil de Biedma has been a crucial point of reference for many contemporary Spanish poets, so he has also been one of the few conduits between the two countries' poetic aesthetics. Just as many Latin words come to English through French, so I would argue that certain momentary nods towards Auden in Garcia Montero often reach us through Gil de Biedma.

His life and work are currently in the media spotlight over here in Spain, as a controversial biopic has just come out, titled "El Cónsul de Sodoma". Beyond the arguments about its veracity or focus on sexual escapades, I just hope it generates more readers for Jaime Gil de Biedma. Here's a terrific example of his own self-awareness from his poem "Después de la muerte de Jaime Gil de Biedma", "After Jaime Gil de Biedma's Death", in which he addresses his other self and ends with these lines...

"Aunque acaso fui yo quien te enseñó.
Quien te enseñó a vengarte de mis sueños,
por cobardía, corrompiéndolos."

"Although it might have been me who taught you.
Who taught you to take revenge on my dreams,
out of cowardice, corrupting them."

Luis Garcia Montero, traditions that converge

Luis Garcia Montero is a terrific poet and a real force in contemporary Spanish poetry.

One of the most accessible poets to be writing in Spain, his work fuses the Generacion del 27, e.g. Salinas, Lorca, Cernuda, with the influence of Jaime Gil de Biedma. This means his realist poetry is also unafraid of the lyric and the esoteric. Politics, meanwhile, play a key role in his work: Garcia Montero forms part of a generation who lived through Spain's intense transition to democracy while they were students.

The above-mentioned combination brings about a poetry that captivates, drawing the reader in, working at umpteen levels. Gacria Montero might have brought together something of a group around him in Granada (poets such as Javier Egea and Alvaro Salvador), but there isn't a school as such - his voice is inimitable. I do enjoy his erotic work and political pieces, but perhaps he's at his best when writing about his daughter, Irene, as in the following snippet:

"contigo
cobran todas las cosas
un impreciso afan por empezar de nuevo"

"with you
everything takes on
an imprecise urge to begin again"

Garcia Montero is unusual among the current crop of Spanish poets. I do feel he deserves further exposure to a U.K. readership, although the translation would have to be extremely nuanced so as to preserve the converging of traditions that textures his work.

Lyrics as poetry and poetry as lyrics

Many U.K. poets seem to take it as read that lyrics aren't poems and poems aren't lyrics. They dig their heels in over this distinction.

Such an argument would appear ridiculous in Spain, where songwriters publish collections of poetry and set many poems to music. A simple search of major Spanish poets on YouTube offers up many gems (especially Lorca and Alberti, etc), but perhaps my favourite is this one:



Luis Garcia Montero's poem led to Quique Gonzalez's song. Here are both of them, feeding off each other, lyrics as poetry and poetry as lyrics.

I feel decent singer-songwriters are marginalised in the U.K., while mainstream lyrics do tend to be trite, factors which lead to a belief that the two genres are somehow separate. In fact, the tools of both trades are shared: for example, Lennon and McCartney knew and used their metrics well, as do many contemporary writers for major groups. The main problem is the colossal dumbing down of popular music in Britain, blinding so many poets to the terrific collaborative possibilites that exist.