THE HAND OF DISAPPEARING

The Hand Of Disappearing

Every Time he puts his hand

On a spot of shadow

Shadow leaps

And dress it a glove.

Which way do you prefer her:

To be with you

Thinking of someone else

or to be

with someone else

thinking of you?

like a sleeping human

Dreaming that he is

sleeping beast dreaming that he is

sleeping human.

He doesn’t write

About her

on paper

he throws himself

on her

paper after paper.

You would love me the most:

when you lift up your hand
off me

I disappear.

Your hand

is the hand

of disappearing.

___________________________2/7/1995

Monzer Masri

Born, lived, wrote, loved..and so near to death! been in a very few places.. Kavala, Diar baker, Lodeve...Paris.. and Londen latly... to read poetry.. My favorite place is Beirut..

THE LONELY DREAMER

Émile Nelligan born in Montreal in 1879..
In 1896, published some of his first poems under the pseudonym "Émile Kovar." influenced by French poets as Verlaine and Baudelaire. His poems were unique and almost revolutionary in Quebec where patriotic and Romantic poetry reigned. He stressed the subjective impression, the power of words and the music of language. He wrote about nostalgia and melancholy, and the conflicts of being a poet.
In 1897, Nelligan joined the École littéraire de Montréal, a literary movement that sought to break free from the restrictive style of poetry that was so dominant in Quebec. At around this time, Nelligan's father tried to send him off to England as a Merchant Marine, unhappy with his son's choice of vocation. Nelligan continued to publish poems in local journals, and in 1898, he was readmitted into the École littéraire de Montréal, where he would often read his poems to the gathered crowd. In 1899, however, he was confined to an asylum due to mental illness. He died there in 1941.
In 1903, although only 23 of his poems had been published, Nelligan's friend Louis Dantin and his mother collected 107 poems and published them as Émile Nelligan et son oeuvre. .

............................................................................................................................

Depressed, inward-looking, sometimes closed in his small room on the second floor of 260 Avenue Laval, sometimes walking in the city center, Nelligan likes to attend Bonsecours walked and Jacques-Cartier, if stops at a church. We know few women in his entourage (Edith Larrivée, Idola Saint-Jean or Barry Robertine). It would, they say, lived a pastoral idyll with a Swiss German in the fall of 1895, but we do not know much, the same mystery surrounds some Gretchen in 1897. Women at Nelligan, sometimes real, sometimes fictional (artist, apparition, mythic allusion, negress lointaine) is beautifully embedded in the imagination. And above all the world dreams of love reflected in his poems, the portrait of his mother and the plans of St. Cecilia's fear of loving.

St. Cecilia" by John William Waterhouse (1895)

The Gold Vessel Le Vaisseau d’Or

Translated from the French by Loup Kibiloki

It was a massive Ship carved out of solid Gold,

Its masts reaching azure, she sailed on unknown

seas

With Aphrodite of love spreadeagled at the prow,

hair dishevelled and naked under excessive sun.

But it came that a night the ship struck the great reef

On treacherous Ocean where the Siren was heard.

The horrible shipwreck tilted the hull aslant

Deep down the abyss depth, immutable coffin.

It was a Gold Vessel. Her diaphanous sides

were revealing treasures that the secular crew,

Disgust and Neurosis, and Hatred, fought over.

What’s left of it under the brief abating storm?

What became of my heart, empty deserted ship?

Alas, it has sunk down in the abyss of Dream.

POINT LOBOS

Edward Weston

One of the true regenerative artist: an awakener of the eye and the evolving mind it serves. Regeneration was a quality that Weston brought to photography for more than three decades, defining both the limits and the generosities of his medium. Point Lobos was only one of his subjects, though he returned to it again and again, and took his last photograph there. His career spanned crucial years in American photography, and a restless pursuit of his art created a body of work that ranged over nudes, still lifes, industrial scenes, portraiture, landscape
In 1937 Weston became the first photographer to receive the prestigious Guggenheim Fellowship. For a year, he traveled around the western United States with Charis Wilson, creating large-scale landscapes, a subject he had not pursued in depth since his time in Mexico.

The grant was renewed in 1938, part of which Weston spent at his new residence in Carmel, developing and printing negatives made in the preceding months.Weston created some 1,400 negatives during this remarkably productive time, and his visual approach became increasingly expansive. His deliberate, methodical technique of the late 1920s and early 1930s, when he spent hours creating single still life arrangements in his studio, gave way to greater spontaneity and an embrace of diverse views. His frame now encompassed hills, valleys, and coastlines, not just the rocks and tree stumps found there. He directed his attention to less static subjects, incorporating moving elements such as breaking waves or drifting clouds. , and any other subject that touched his visual imagination

THE BLUE-WHITE GULLS

Among the Blue

Somehow I wish could say
it was indifference not love
that found the coordinates
for cormorants among the blue
the blue-white gulls

tell you that we have lived once
and will not come this way again

say to you that as long as art
teaches language of recovery
eternal reminders of morning
will grow on our sweat, spume,
tick softly on our lips, on our lips.

Gerry McGrath was born in Helensburgh, near Glasgow, in 1962 and studied at Strathclyde University before becominga teacher. He now lives in North Ayrshire with his wife, Kate, and young son, Liam. He worked as a teacher of modern languages for seven years until 2000. He received a Robert Louis Stevenson Memorial Award in2004. His poems have appeared in Edinburgh Review, Being Alive, in Painted, Spoken and in PN Review, and a selection were published in Carcanet's New Poetries IV: An Anthology (2007).

JIMÉNEZ DEREDIA

The Mystery of the Genesis

Jorge Jimenez Deredia is a universal artist, born in Costa Rica but Italian by adoption, an expert on the Renaissance and the first non-European in the new millennium to be asked to create a sculpture for St, Peter´s in Rome.

THE PATH OF SEA STARS

Romanian-born French poet and essayist known mainly as a founder of Dada, a nihilistic revolutionary movement in the arts.The Dadaist movement originated in Zürich during World War I; Tzara wrote the first Dada texts - La Premiére Aventure cèleste de Monsieur Antipyrine (1916; "The First Heavenly Adventure of Mr. Antipyrine") and Vingt-cinq poémes (1918; "Twenty-Five Poems") - and the movement's manifestos, Sept manifestes Dada (1924; "Seven Dada Manifestos"). In Paris he engaged in tumultuous activities with André Breton, Philippe Soupault, and Louis Aragon to shock the public and to disintegrate the structures of language. About 1930, weary of nihilism and destruction, he joined his friends in the more constructive activities of Surrealism. He devoted much of his time to the reconciliation of Surrealism and Marxism and joined the Communist Party in 1936 and the French Resistance movement during World War II. These political commitments brought him closer to his fellow human beings, and he gradually matured into a lyrical poet. His poems revealed the anguish of his soul, caught between revolt and wonderment at the daily tragedy of the human condition. His mature works started with L'Homme approximatif (1931; "The Approximate Man") and continued with Parler seul (1950; "Speaking Alone") and La Face intèrieure (1953; "The Inner Face"). In these, the anarchically scrambled words of Dada were replaced with a difficult but humanized language.

On the sea stars is among the most beautiful poetry ever written in French.

The poem fits into the "post-dadaïste" Tzara period.
dedicated to Federico Garcia Lorca.

Likely written towards the end of the years 1930s.

__The path of sea stars

Tristan Tzara poem_

What wind on the solitude of the world

so I remember human beings dearf

rail désolations aspirées by the death

beyond any heavy chasses time

the storm délectait to the nearest end

the sand is already arrondissait his hip lasts

but on the mountains of the pockets of fire

vidaient safe blows their prey light

blême and short such friend turns off

which person cannot say the words contour

and no appeal to the horizon has time to rescue

its measurable form only to his disappearance

and a Flash to another

the animal still tends his bitter rump

along the enemy centuries

through fields some parade other greed

and in its failure to profile the memory

as the wood that cracca in sign of presence

and of disparate need

There is also the fruit

and I am not forgetting the wheat

and the sweat gave them push monte throat

Yet we know the price of pain

the wings of oblivion and infinis drilling

at the underneath of life

words arriving to enter the facts

just to serve for laughs

the night horse has galopé trees to the sea

and held the reins of thousand charitable representations

It has dragged the along hedges

where men breasts caught the assault

with all whisper stuck to its flanks

among the huge rugissements to rattrapaient
while fleeing the power of water

immense they are succédaient while that of any small whisper

could not be englouits and surnageaient

in the invincible solitude where spent tunnels

forests cities harnachées seas herds

a single man to the breath of several countries

met cascading and slippery on a smooth blade

of the fire unknown introduced sometimes at night

for the loss of those sleep assembles

in their deep remember

but talk more of those that bound

to the fragile branches to the bad moods of nature

even those who suffer harsh blows

tend the neck and on their body treadmill

when birds do not picorent Sun seeds

sound rigid boots of the conquerors

they are out of my memory

birds seek other spring jobs

to their calculations of sinécures

by charming herds of affolements

the wind at their kits

that the desert them is counted

the devil for warnings

Entertainment poppies and companys

crape the cold

fear monte

dry tree

human lézarde

panes fighting

fear monte

No word is fairly soft

to bring the child of the roads

lost in the head

a man at the edge of the season

It looks at the vault

and look at the abyss

watertight bulk

headsthe smoke in the throat

the roof is dwindling

but the famous animal arc-bouté

in the attention of the muscles and weird under the spasms

teep rock éclair leak in rock

is the appetite of joy déchaine

the morning rebuilt his world

to measure his yoke

Sea robber

You te penches under the expectation

and te lèves and whenever you salues drunk sea at your feet

on the sea star road

filed by columns of uncertainty

You te penches you te lèves

salutes brassés by bands

and on the heap must yet thou procedures

even while avoiding the most beautiful need yet thou procedures

You te penches

on the sea star road

my brothers shout of pain at the other end

needed them intact

What are the hands of the sea

l’on gives men nothing

glorious path on the path of the sea stars

"alcachofas alcachofas" is my beautiful Madrid

in the eyes of Tin fruity voice

that is open to all winds

vague fire iron waves

It's the splendours of the sea

needed them intact

those renversées broken branches

on the sea star road

where leads this path it leads to pain

men fall when they want to recover

men sing because they have tasteddeath

yet must walk

It workst

he path of the stars of sea by columns of uncertainty

but it empêtre in the voice of the lianas"

alcachofas alcachofas" is my beautiful Madrid at the low lights

open to all winds

calling me - years - of the discarded

It is a head of King damn son son

It is a head is the wave that sweeping

It is yet on the path of the sea stars

hands are open

They speak the beauty of the glory

nothing as reflections of tiny heave

nand imperceptible eyes surround clignements

broken waves

seas fireball

but it is open to all winds Madrid

who tramples the floor in my head

alcachofas alcachofasthe screams capitals raidis

ouvre_ you infinite heart

that enters the path of the stars

in your numbers life as the sand

and the joy of the seas

contains the Sun

in the chest where shines overnight human

the man of today ' today on the sea star road

has planted the advanced sign of life

as it must live

the flight freely chosen of the bird jusqu’à deat

hand jusqu’à the end of the stones and ages

eyes fixed on the only certainty of the world

whose drips light rabotant trapped on the ground
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HAROLD NORSE AND THE BEAT HOTEL

The hotel, the patronne Madame Rachou and the stair well.
Owing to the less stringent laws in force at the time,
the smoking of hashish and marijuana was, among some
of the residents, a social activit y like any other in the hotel.
The distinctive smell would, day or night, drift from
someof the ill-fitting doors on to the stairs..beat Hotel

Harold Norse was part of the magical interlude of "The Beat Hotel". Along with William Burroughs and Brion Gysin he playe d a pivotal part in the seeds that led to cyberspace.

Excerpts from "Beat Hotel":

"Bob sat up straight in bed, straining to listen. Nothing. Voices crackled as from an old radio and figures strirred in some numb echo-chamber of his brain, like newspapers down a windy street. He felt enclosed in a soundproof room. He had no idea where he was. He looked around without comprehension, not even knowing what city he was in. Low rapid monologue, nervous whisper of junk journey, endless trips -- "... in Tangier, for example, I dug Arabic from Hebrew -- same language you see -- you get these programs from Radio Cario -- I can tell what they're saying -- school broadcasts for example: Little Mohammed, says teacher, what do you do when you meet a Jew? Kill him. Little Mohammed, what do you do when you meet two Jews? I call ten Arabs to kill 'em...Good-natured laughter and applause. Like Little Mohammed is six years old, dig. And didja know Jews ain't allowed to ride camels because that way they're higher than an Arab...?"
"Aladdin and Titania still in Tangier?"
"Too stoned to move...three years in the Casbah..empty palace..mosaicwalls...six kids...rush mats...a cat...a groundhog..nah, I forgot...somebody ate the groundhog...made groundhog soup..."
"Man, all they ever eat is brownies, majoun brownies...hash, honey, sesame seeds, anise, dates, cinnamon...check runs out each month...the bread goes for hash and grass...even the kids are stoned...contact high...they were conceived high, Aladdin says.,.those little girls giggle all the time...lean against each other for support and giggle...never talk ..."
"Aladdin don't say much...and Titania...has any one ever heard her say a word?"
"They're living in the UNIVERSE, man...no gas...no water...no electricity...only the blinding light of the void...in hotel universe...hotel nirvana..."
"Blue dream of space...celestial flash of blue light in crystal blue silence...on blue mosaic floors...lattice light on silent mosaic heads..."
"Aladdin's a joint machine...sits and rolls till he's catatonic...a holyroller...shit is his religion...best dealer in Tangier...you always get a good count."
"Yeh, best mind in the business...except for Leary..."
"They're buddies...on the astral plane...Communicate via astral post office... Saves money in stamps ...."

Angry with journalists who called the hotel a "flea-bag shrine", Harold Norse used their expression to prophesy;"The flea-bag shrine will be documented by art historians".

Patrick Shelley, the English sensualist painter, and AllenGinsberg, Room 25. Christmas 1956.
Shelley introduced me to the Beat Hotel in the winter of that year.

Light Control Panel for each of the rooms in the Beat Hotel.

The bulb glowed dimly or brightlyaccording to the amount

of electricity beiing used.

photographer Harold Chapman

HAROLD NORSE

Queer Beat Poet

Political activist and writer Born 1916, New York City. B.A., Brooklyn College 1938; M.A., New York University 1951. At age 22 in 1939 he became a member of W. H. Auden's inner circle, cited by scholar/critic Nicholas Jenkins in The New Yorker, April 1, 1996. William Carlos Williams called him "the best poet of your generation." The 10-year correspondence between Norse and Williams (1951-1961) was published by Bright Tyger, San Francisco 1990. [...]
That year City Lights published Norse's Hotel Nirvana: Selected Poems, establishing him among the leading Beat poets. He was nominated for the 1974 National Book Award.Norse lived in the "Beat Hotel" in Paris, 1960-63, with William Burroughs, Allen Ginsberg and Gregory Corso. There he wrote his experimental cut-up novel, Beat Hotel, published in German by Maro Verlag, Augsburg 1973, now in its 30th printing. [...]
With Carnivorous Saint: Gay Poems 1941-1976, Gay Sunshine Press 1977, Norse became the leading gay liberation poet. His Memoirs of a Bastard Angel (William Morrow), 1989, preface by James Baldwin, further established his reputation. [...]Norse has produced 12 books of poetry and 3 of prose. He has received 2 NEA poetry grants and a Lifetime Achievement Award from the National Poetry Association.

Classic Frieze in a Garage

I was walking thru the city past umberembassies

& pine-lined palaces

fat palms beside balconies

the heat something

you could really touch

the kids with cunning

delinquent faces

after american sailors

-thinking of nerval tends-moi le pausilippe

et la mer d'Italie & living

on the hill posillipo under

a gangster's dancefloor

among goldfinches

on the bay of naples

in a stone cottage

over tufa caves in which the sea

crashed in winter sweet gerad

one hundred years

have made the desolation greater

the tower is really down & the sun blackened

beyond despair the loudspeaker drowns

finches cliffs caves

all in the hands of racketeers

yet i have passed my time dreaming thru this

fantastic wreck

walking thru incendiary alleys of crowded laundry

with yellow gourds in windows &

crumbling masonry of wars

human corruption

so thick and hopeless that i laugh

when suddenly i saw among the oil & greasy rags

& wheels & axles of a garage

the carved nude figures of

a classic frieze

there above the dismantled

parts of cars!

perfect! & how strange! garage

swallows sarcophagus!

mechanic calmly spraying

paint on a

fender

observed in turn by lapith and centaury

flow

of unthinking flesh!

frank thighs!eyes

of aphrodite!

the myth of the mediterranean

was in that garage

where the brown wiry

youths saw nothing unusual

at their work

among dead heroes & gods

but i saw hermes in the rainbow

of the dark oil on the floor

reflected there

& the wild hair of the sybil

as her words bubbled

mad and drowned

beneath the motor's roar

TAROT

Heinrick Ulrick

(Nurremberg
approx. 1572 - 1621)
The Jester-Etching

THE ALLEGORIES OF THE TAROTS
The allegories which appear on the trump cards belong to the iconographical tradition common to most of Europe from the 13th century. They may be found in the decorations of the Gothic cathedrals, in the frescoes of public buildings, and in encyclopaedic and astrological manuscripts. In practice, the figures represented on the cards of the Triumphs are a real Biblia Pauperum, that means a "the Poor men's Bible". Playing the cards, people directly drew from these a knowledge of the Christian mysticism and its contents, concepts that were continually recalled in their minds, according to the method of the Ars Memoriae of the time. They may be readily interpreted by reference to the cultural context of the courts of northern Italy, and their taste for moralizing images derived both from religious tradition and classical mythology. For the ancient gods continued to play a role in medieval Christian culture, even though their characters were different from those of the original divinities.On the one hand, they were held to be civilizing heroes who taught men many arts, like Minerva, the first weaver, or Apollo, the medical god. On the other hand, they were interpreted as allegories of virtue and vice, and it is in this sense that they appear on some of theTarot cards. Obvious examples include Strength, represented by the mythical Hercules as he destroys the Nemean Lion - the symbol of animal instinct; Love, represented as Cupid ready to launch his darts against incautious lovers; Prudence, represented by Saturn; and the Modesty of Diana, the Immodesty of Venus, the Truth of Apollo illuminating Earth with the disc of the sun.Many Tarot figures clearly employ Christian iconography. For example, the World is sometimes represented by the Celestial Jerusalem placed inside a sphere supported by angels or dominated by Celestial Glory. The card bearing the Popess, identical to that in Giotto's frescoes in the Scrovegni Chapel in Padua, derives from the image of Faith. Amongst many other possible examples, representations of virtues such as Temperance, Justice and Fortitude echo the classical iconography to be found in the sculpture of Gothic cathedrals or the minatures of the sacred books.Other sources of inspiration include ancient astrological treatises. The figure of the Bagatto, or Juggler, appears among the Children of the Moon - that is to say, the trades which are influenced by the moon. The Misero, or Fool, is found among the Children of Saturn, the Lovers among the Children of Venus, the Pope among the Children of Jupiter, and the Emperor among the Children of the Sun. Moreover, astrologers appear in several packs of trumps as representations of the Moon or the Stars.Lastly, there are images drawn from everyday life. An extremely interesting example is the figure of the Hanged Man, which refers to the punishment inflicted upon traitors.In the Bolognini Chapel of the church of San Petronio in Bologna an identical figure is represented in a fresco by Giovanni da Modena as the retaliation punishment for idolaters, since idolatry was considered the most awful kind of betrayal because addressed to the disownment of the Creator. Although the punishment of hanging by a leg has been represented in other works, the San Petronio fresco is the only known example which concides perfectly with the Tarot card.


AN INTERNATIONAL EXHIBITIONunder the patronage ofMinistry for the Cultural and Environmental Heritage and Foreign Office Protocol no. 16638 dated January 1995LE TAROT Cultural Trust for Historical Studies and ResearchStradello Cappuccini 14 - 48018 FAENZA - ItalyTel & Fax +39.546.661143 / cell. +39.335.5619171info@associazioneletarot.it / letarot@virgilio.ithttp://www.blogger.com/www.associazioneletarot.it

ELETRIC VERSES

.....................street light & night time cities

Photo Gallery by arn at pbase.com

Electric Verses---------- bothFinnish and Swedish speaking. The site contains their

poetry in the original and translations into other languages.

EIRA STENBERG

Born in Tampere. Five collections of poetry, novels, radio plays, children's books and plays. Studied at the Sibelius Academy.

To talk of love…

the thing you can't talk about
the cul-de-sac of a looking-glass
with someone hanging upside down
from an invisible tree,
legs wrapped round a branch,
apparently grappling with gravity
and opening a mouthno cry comes out of…

Or to talk as if
love were a door
with a key called longing
and behind the door a tree flamed
into visibility,
a foetus straightened its legs and dived
up to the surface
and spoke to you the juggler,
who toss your head from hand to hand like dice,
and brought you a fresh leaf
after the deluge.

JUHANI AHVENJÄRVI

He living in Tampere. He has worked as teacher of creative writing in the University of Tampere and other places. He made his debut in 1992 in the anthology Ryhmä 92 -Group 92, edited by Jyrki Kiiskinen and Kari Levola-. Since that he has published three collections of poems, the latest of which, Yhä kiihtyvä tauko, came out in 2005.

There is no hope.
The image we
have of the eye
stays open

HELENA SINERVO

-1961 published her first collection of poems, Lukemattomiin (Untold), in 1994. Since that she has published six more. Sinervo has translated poems by Elizabeth Bishop and Yves Bonnefoy and written the lyrics for Liisa Lux’ debut song album (2002).

If the wind cannot recall, can you?

The one I thought of a thousand times
at the first hour, a thousand times at the second ,
could not recall me at all,
although the wind recalled its windward
a thousand times at the first hour, a thousand times at the second ,
and still at the third hour,
when the rooster had crowed thrice,
did the wind recall its windward
searching for early traces, covered in reminiscence.

JYRKI KIISKINEN

worked as editor in chief in the Nuori Voima literary magazine in 1991-1994 and Books from Finland in 1995-2000. He is one of the most important literary figures of his generation. He has published five collections of poems, three novels and three children’s books. He was awarded the Eino Leino Prize in 1992, Kalevi Jäntti Prize in 1994 and Yleisradio’s (the equivalent of the BBC) Tanssiva Karhu (Dancing Bear) Prize in 2000.

No one

So green that no one,
no one can say it
so green that the grass, the stand of pine trees
the clump of alders
cannot hide it
cannot describe
no one can describe it
so yellow that the dandelion, the
sun, so bright
that the water
that the light cannot break it
so deep, so warm, so quiet
is it
that no one can understand it
so icy, so dumb, so deep
is it

LEEVI LEHTO

- 1951- has published five collections of poems, Muuttunut tuuli -Changed Wind, 1967-, Rakkauden puheesta (Of Speech of Love, 1969-Ihan toinen iankaikkisuus -Quite Another Eternity, 1991- Kielletyt leikit -Forbidden Games, 1994- and Ääninen -1997- He also has published the novel Janajevin unet -Yanayev’s Dreams, 1992- and worked as translator, translating John Ashbery’s Flow Chart -Vuokaavio, 1994- among others.

You (I)
But I will couple you with the spring sky.
I have eaten angel flesh, drunk the moon from the sky,
visited China in a dream and returned to the kitchen at night:
to be my own son and close the cupboard door.

JORGE RIECHMANN

Alliance

An entire forest has come back from
your neck tonight,
I saw a conciliator,
friend, strongly favor
possible, you were sleeping
upon the severity of recent
days. I did not wake me refresh
your pulse.
The signs seem clear:
We can assist in time together
Two of the god, the three other
case. It is now time not to forget
the dreams.

2
Sniff
as well.
There are sweat as honey,
There is wheat and soil. I see and hear
resonant
as well. You know so well enjoy.
While preserving instincts of the flower to the
fruit. I see and I hear you breathe
again
I called you at our table of wind.

3
I dreamed
the salvation of your sweat
advocate
our common privacy
before the ravages of this bloody
sky
receipt
Freedom in your body marking
the slight pleasure prosody
I dreamed
the salvation of your sweat.

4

Then on the edge of the shadow
dance
illuminated by white slow,
beautiful,
strongly live, knowing all
the pores
and all the wrinkles of pleasure,
It is true that the death, but only
begins tomorrow.

Of "mobile equipment" and "Book of Berlin":

Absent
Encounter with the
angel
Unbelief

Poem of the meeting
Three times
awakening

From "Song of erosion:

Abolish the nostalgia
You
Get rid of your vertebrae tame
Sleep a bit longer, gardener adorable ...
At dawn she always just left
Trace of a body

From "Hope violent":
Absence of a friend in ZamoraT
he most beautiful dress
The lover 2
Heading
The smoothness of love



Jorge Riechmann Fernández

Born in Madrid in 1962. Degree in mathematics from the Universidad Complutense, studied philosophy, German literature and political science. Professor of moral philosophy at the University of Barcelona since 1995, editor of the magazine "Meanwhile" , translator of French literature and German. He is considered by critics as one of the best examples of Spanish poetry of recent decades. Awards: Poetry Hyperion in 1987, Feria del Libro de Madrid in 1993, National Poetry Villafranca del Bierzo 1996 jaen Poetry in 1997 and 2000 awards: International Poetry of Gabriel Celaya Translation and Stendhal. Following publications: "Song of erosion"-1987, "Cuaderno de Berlin"-1989, "Rolling stock" - 1993, "Both in April in October", "The cut under the skin 'and' Dance an alien "- 1994, 'Figure of yourself', 'Hope violent" and "The truth is a fire where ardemos", containing poems of the eighties ,published in "Amarte No Return" in 1995.

PASTORA PAVÓN Y GARCIA LORCA