Publication: Periferia, evasión y desengaño: Hacia una poética inicial de Pablo García Casado
Authors
Moyano Casiano, Félix
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info:eu-repo/semantics/article
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Abstract
La poesía de Pablo García Casado (Córdoba, 1972) se origina próxima a tendencias
como la poesía de la experiencia, la literatura comprometida o el realismo sucio. No
obstante, desde su primera obra, Las afueras (1997), el autor se desmarca de estas
corrientes al presentar en su poesía una voz desubjetivizada que se aleja de los
espacios poéticos comunes: observa todo lo que le rodea con una mirada oblicua de la
realidad que contribuye a ofrecer nuevos puntos de vista. En este artículo propongo
tres rasgos distintivos para entender su obra: periferia, evasión y desengaño. Estas
nociones quedan plasmadas en los textos mediante la incorporación de lo que
denomino realismo minimalista; un realismo con el que el autor explora otras
posibilidades expresivas y se adentra en los territorios no poéticos, con el fin de
convertir en poesía lo que está fuera de ella.
Pablo García Casado’s poetry (Cordoba, 1972) originated around trends such as poetry of experience, engaged literature, and dirty realism. However, since his first work Las Afueras (1997), he abandoned these tendencies in order to introduce a desubjectivized voice that shifts away from common poetic spaces. García Casado observed reality with an oblique look that allowed for the reconfiguration of new points of view. In this paper, I propose three distinctive features to understand his work: periphery, evasion, and disenchantment. These notions, in fact, are embodied in the text by incorporating what I tentatively call minimalist realism. Through it, the poet explores new ways of expression and delves into non-poetic territories; thereby turning into poetry what remains outside of it.
Pablo García Casado’s poetry (Cordoba, 1972) originated around trends such as poetry of experience, engaged literature, and dirty realism. However, since his first work Las Afueras (1997), he abandoned these tendencies in order to introduce a desubjectivized voice that shifts away from common poetic spaces. García Casado observed reality with an oblique look that allowed for the reconfiguration of new points of view. In this paper, I propose three distinctive features to understand his work: periphery, evasion, and disenchantment. These notions, in fact, are embodied in the text by incorporating what I tentatively call minimalist realism. Through it, the poet explores new ways of expression and delves into non-poetic territories; thereby turning into poetry what remains outside of it.
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