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12 de octubre

Día de la Hispanidad
las letras alegres llegan,
y por el mundo navegan
consiguiendo la hermandad.
Extraordinaria heredad
que consigue unir las manos,
aún estando muy lejanos
y en este doce de octubre,
la poesía nos descubre
los sentires más arcanos.

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Qué hay en el espejo trizado,

que en él me reconozco?

¿Son los fragmentos rotos, la ceniza,

este limo estrellado,

estas leves partículas briznadas,

el reflejo poliédrico, escarchado,

el eterno fractal inaprensible,

las limaduras, el serrín, los segmentos;

la descomposición,

es quizá más cercana a mi esencia

a mi alma

que toda la lisura y plenitud

de un espejo pulido?

Manto de hierba.

Soles movibles, fugaces, incompletos.

El mar está formado por un inabarcable

movimiento de gotas,

de mareas.

Mi saliva jamás destila igual,

nunca es la misma.

La metralla implacable de mis pies,

de mis ojos,

reverbera en la noche:

un prisma de cristales, como agua infinita

que se ondula despacio

con los flujos nocturnos.

Y soy yo, centelleo;

somos todos brillando,

como pájaros de aire

que surcan el espacio,

donde no tropezamos

con estrellas rotundas,

donde solo hay migajas, ralladuras y polvo.

Mi rostro no se rompe; es elástico,

se recompone mil veces; humedades

distintas me modelan, soplos tibios

de vigor, de deseos, de temibles,

dulces, cambiantes, perecederas ansias

me conforman.

Una erupción de astillas me sostiene.

Soy débil y soy fuerte; ya mi cuerpo

que se alza soberbio y espejea

en añicos de azogue, con fulgores

propios, frescos, novísimos,

nunca antes entrevistos;

ya mi forma transida se destapa

y soy yo y soy miles

y soy yo siendo miles.

Sentada en una cumbre

-visceral, no tangible,

imaginada siempre como refugio y roca-

contemplo el universo disgregado.

Y sé que estoy ahí y en cada cosa

y que el espejo roto me recoge

con luces y con nombres

que yo aún desconozco

y que son míos.
Amira Ben Amar

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Hora tras hora, día tras día,
entre el cielo y la tierra que quedan
eternos vigías,
como torrente que se despeña,
pasa la vida.

Devolvedle a la flor su perfume
después de marchita;
de las ondas que besan la playa
y que una tras otra besándola expiran.
Recoged los rumores, las quejas,
y en planchas de bronce grabad su armonía.

Tiempos que fueron, llantos y risas,
negros tormentos, dulces mentiras,
¡ay!, ¿en dónde su rastro dejaron,
en dónde, alma mía?

Sed de amores tenía
Sed de amores tenía, y dejaste
que la apagase en tu boca,
¡piadosa samaritana!
Y te encontraste sin honra,
ignorando que hay labios que secan
y que manchan cuanto tocan.
¡Lo ignorabas…, y ahora lo sabes!
Pero yo sé también, pecadora
compasiva, porque a veces
hay compasiones traidoras,
que si el sediento volviese
a implorar misericordia,
su sed de nuevo apagaras,
samaritana piadosa.
No volverá te lo juro;
desde que una fuente enlodan
con su pico esas aves de paso,
se van a beber a otra.
DE ROSALÍA DE CASTRO

SOUNDOUS ARANNAU

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Rayan Zekhnini Boubnane

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La ciudad desolada
hoy no susurra nada en mis oídos.
Despega los labios y permanece muda.
Se agotó la palabra.

Sísifo, Sara Mesa

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CAEN LAS HORAS COMO GOTAS DE ACEITE, SARA MESA

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CAEN LAS HORAS COMO GOTAS DE ACEITE, SARA MESA

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Caen las horas como gotas de aceite,

pesadas, lentas, doradas, tibias.

El aire está inflamado de plegarias,

de cánticos oscuros y enigmáticos.

Yo sé que algo sucede.

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El último libro de la escritora, 'Un amor', es tan opresivo y a la vez liberador, y hasta cierto punto sórdido, como el resto

Este año no habrá cita con la rosa y el libro en las calles de Barcelona hasta julio, pero una decena de autores recuerdan algunas de las más jugosas anécdotas de la jornada

En 'Cara de pan', Sara Mesa oprime al lector hasta la asfixia a través de unos personajes impulsados a destruir la pureza

SUEÑOS DE UNA NOCHE DE VERANO

Sara Mesa | Escritora

La autora de 'Cicatriz' publica cuatro relatos cortos para EL PAÍS. "Cada vez me gusta más usar palabras normales", asegura sobre su estilo

EN POCAS PALABRAS
Sevillana nacida en Madrid en 1976, ha publicado este año 'Mala letra' (Anagrama), un libro de relatos que confirma que la autora de 'Cicatriz'

Diarios, ensayo, poesía y narrativa logran los primeros puestos en la votación de los críticos y colaboradores de Babelia. 'Los diarios de Emilio Renzi', de Piglia, libro del año

EN PORTADA / ESCRIBIR A LOS 40
La generación de la crisis se consolida en España. Rondan los 40 años, pero no tienen una estética común. En sus obras convive crítica social y un intimismo cercano a la autoficción

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El último libro de la escritora, 'Un amor', es tan opresivo y a la vez liberador, y hasta cierto punto sórdido, como el resto Este año no habrá cita con la rosa y el libro en las calles de Barcelona hasta julio, pero una decena de autores recuerdan algunas de las más jugosas anécdotas de la jornada En 'Cara de pan', Sara Mesa oprime al lector hasta la asfixia a través de unos personajes impulsados a destruir la pureza SUEÑOS DE UNA NOCHE DE VERANO Sara Mesa | Escritora La autora de 'Cicatriz' publica cuatro relatos cortos para EL PAÍS.

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Me niego rotundamente
a negar mi voz,
mi sangre y mi piel.
Y me niego rotundamente
a dejar de ser yo,
a dejar de sentirme bien
cuando miro mi rostro en el espejo
con mi boca
rotundamente grande,
y mi nariz
rotundamente hermosa,
y mis dientes
rotundamente blancos,
y mi piel valientemente negra.

Y me niego categóricamente
a dejar de hablar
mi lengua, mi acento y mi historia.

Y me niego absolutamente
a ser parte de los que callan,
de los que temen,
de los que lloran.

Porque me acepto
rotundamente libre,
rotundamente negra,
rotundamente hermosa.

Shirley Campbell

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DIA DE LA HISPANIDAD,UN MARINERO LLAMADO Colón

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DIA DE LA HISPANIDAD,UN MARINERO LLAMADO Colón

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Un marinero
llamado Colón
tenía una idea
que nadie creyó.

Con tres carabelas
de Palos partió.
Cruzando el océano,
muy lejos llegó.
Rayan Ahmed Benchellal

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(...)
Yo que me encuentro tan lejos,
esperando una noticia,
me viene a decir la carta
que en mi patria no hay justicia:
los hambrientos piden pan,
plomo les da la milicia, sí.

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Violeta del Carmen Parra Sandoval ( Spanish pronunciation: [bjoˈleta ˈpara]; 4 October 1917 - 5 February 1967) was a Chilean composer, singer-songwriter, folklorist, ethnomusicologist and visual artist. She pioneered the Nueva Canción Chilena (The Chilean New Song), a renewal and a reinvention of Chilean folk music that would extend its sphere of influence outside Chile. Parra is acknowledged as "the Mother of Latin American folk".

Her birthdate (4 October) was chosen "Chilean Musicians' Day". In 2011, Andrés Wood directed a biopic about her, titled Violeta Went to Heaven (Spanish: Violeta se fue a los cielos).

There is some uncertainty as to exactly where Violeta Parra was born. The stamp on her birth certificate says she was born in San Carlos, Ñuble Province, a small town in southern Chile on 4 October 1917, as Violeta del Carmen Parra Sandoval. However, both the Violeta Parra Foundation (Fundación Violeta Parra) and the Violeta Parra Museum (Museo Violeta Parra) claim on their websites that she was born in San Fabián de Alico, near San Carlos.

She was one of nine children in the prolific Parra family. Her father, Nicanor Parra Alarcón, was a music teacher. Her mother, Clarisa Sandoval Navarrete had grown up in the countryside and was a seamstress. She sang and played the guitar, and taught Violeta and her siblings traditional folk songs. Among her brothers were the notable modern poet, better known as the "anti-poet", Nicanor Parra (1914-2018), and fellow folklorist Roberto Parra (1921-1995). Her son, Ángel Parra, and her daughter, Isabel Parra, are also important figures in the development of the Nueva Canción Chilena. Their children have also mostly maintained the family's artistic traditions.

Violeta Parra's family lived in poverty and was constantly moving throughout her childhood in search of work. Unemployment led her father to alcoholism.[citation needed ] Two years after Violeta's birth, the family moved to Santiago, then, two years later, to Lautaro and, finally, in 1927, to Chillán. It was in Chillán that Violeta started singing and playing the guitar, together with her siblings Hilda, Eduardo and Roberto; and soon began composing traditional Chilean music.

After Parra's father died in 1929, the life circumstances of her family greatly deteriorated. Violeta and her siblings had to work to help feed the family.

In 1932, at the insistence of her brother Nicanor, Parra moved to Santiago to attend the Normal School, staying with relatives. Later, she moved back with her mother and siblings to Edison street, in the Quinta Normal district.

The Parras performed in nightclubs, such as El Tordo Azul and El Popular, in the Mapocho district, interpreting boleros, rancheras, Mexican corridos and other styles. In 1934, she met Luis Cereceda, a railway driver, whom she married four years later, and with whom she had two children, Isabel (born 1939) and Ángel (born 1943). Her husband was a militant communist. At his side, Parra became involved in the progressive movement and the Communist Party of Chile, taking part in the presidential campaign of Gabriel González Videla in 1944.

Parra began singing songs of Spanish origin, from the repertoire of the famous Argentinian singers Lolita Torres and Imperio Argentina. She sang in restaurants and, also, in theatres, calling herself Violeta de Mayo. In 1945, she appeared with her children Isabel and Angel in a Spanish show in the Casanova confectionery.

In 1948, after ten years of marriage, Parra and Luis Cereceda separated. Parra and her sister Hilda began singing together as "The Parra Sisters", and they recorded some of their work on RCA VICTOR. In 1949, Violeta met and married Luis Arce. Their daughter Carmen Luisa was born in the same year. Parra continued performing: she appeared in circuses and toured, with Hilda and with her children, throughout Argentina.

In 1952, Parra's third daughter, Rosita Clara, was born. In that same year, encouraged by her brother Nicanor, Violeta began to collect and collate authentic Chilean folk music from all over the country. She abandoned her old folk-song repertoire, and began composing her own songs based on traditional folk forms. She gave recitals at universities, presented by the well-known literary figure Enrique Bello Cruz, founder of several cultural magazines. Soon, Parra was invited to the "Summer School" at the University of Concepción. She was also invited to teach courses in folklore at the University of Iquique. In Valparaiso, she was presented at the Chilean-French Institute.

Parra's two singles for EMI Odeon label: "Que Pena Siente el Alma" and "Verso por el Fin del Mundo", and "Casamiento de Negros" and "Verso por Padecimiento" brought her a good measure of popularity.

Don Isaiah Angulo, a tenant farmer, taught her to play the guitarrón, a traditional Chilean guitar-like instrument with 25 strings.

Along the way, Parra met Pablo Neruda, who introduced her to his friends. In 1970, he would dedicate the poem "Elegia para Cantar" to her.

Between January and September 1954, Parra hosted the immensely successful radio program Sing Violeta Parra for Radio Chilena. The program was most often recorded in places where folk music was performed, such as her mother's restaurant in Barrancas. At the end of 1954, Parra participated in another folkloric program, for Radio Agriculture.

Violeta was invited to the World Festival of Youth and Students, in Warsaw, Poland, in July 1955. She then moved to Paris, France, where she performed at the nightclub "L'Escale" in the Quartier Latin. Meanwhile, back in Santiago her daughter Rosita Clara died (aged 3).

Violeta made contacts with European artists and intellectuals. Through the intervention of the anthropologist Paul Rivet, she recorded at the National Sound Archive of the "Musée de l'Homme" La Sorbonne in Paris, where she left a guitarrón and tapes of her collections of Chilean folklore. She travelled to London to make recordings for EMI-Odeon and radio broadcasts from the BBC. Back in Paris, in March 1956, she recorded 16 songs for the French label " Chant du Monde" which launches its first two records with 8 songs each.

In November 1957, Violeta returned to Chile and recorded the first LP of the series The Folklore of Chile for the EMI Odeon label, Violeta Parra and her Guitar ( Canto y Guitarra), which included three of her own compositions. She followed with the second volume of The Folklore of Chile in 1958, Acompañada de Guitarra. In 1959, she released La cueca and La tonada. The following year, she founded the National Museum of Folkloric Art (Museo Nacional de Arte Folklórico) in Concepción, under the University of Concepción (Universidad de Concepción). During this time, she composed many décimas, a Latin American poetry form for which she is well known.

In the following years, she built her house "Casa de Palos" on Segovia Street, in the municipality of La Reina. She continued giving recitals in major cultural centers in Santiago, travelling all over the country to research, organize concerts, and give lectures and workshops about folklore. She travelled north to investigate and record the religious festival "La Tirana".

Violeta Parra exerted a significant influence on Héctor Pavez and Gabriela Pizarro, who would become great performers and researchers in their own right. The product of this collaboration is evident in the play "La Celebración de la Minga" staged at the Teatro Municipal de Santiago.

She composed the music for the documentaries Wicker and Trilla, and contributed to the film Casamiento de negros, performed by Sergio Bravo.

She wrote the book Cantos Folklóricos Chilenos, which gathered all the research conducted so far, with photographs by Sergio Larraín and musical scores performed by Gastón Soublette (Santiago, Nascimento, 1979). She also wrote the Décimas autobiográficas, work in verse recounting her from her childhood to her trip to Europe.

She developed a serious interest in ceramics, painting and arpillera embroidery. As a result of severe hepatitis in 1959 that forced her to stay in bed, her work as a painter and arpillerista was developed greatly, so much so that that same year, she exhibited her oil paintings and arpilleras at both the First and Second Outdoor Exhibition of Fine Arts in Santiago's Parque Forestal.

On 4 October 1960, the day of her birthday, she met Swiss clarinetist Gilbert Favre with whom she became romantically involved. In 1961, she traveled to Buenos Aires, Argentina, where she exhibited her paintings, appeared on TV, gave recitals at the Teatro IFT, and recorded an album of original songs for EMI Odeon - which was banned.

In June 1962 she returned to Santiago. With her children Isabel and Angel, and her granddaughter Tita, she embarked, with the Chilean delegation, for Finland to participate in the 8th "World Festival of Youth and Students" held in Helsinki. After touring the Soviet Union, Germany, Italy and France, Violeta Parra moved to Paris, where she performed at La Candelaria and L'Escale, in the Latin Quarter, gave recitals at the "Théâtre Des Nations" of UNESCO and performed on radio and television with her children.

She then started living with Gilbert Favre in Geneva, dividing her time between France and Switzerland, where she also gave concerts, appeared in TV and exhibited her art.

In 1963 she recorded in Paris, revolutionary and peasant songs, which would be published in 1971 under the title Songs rediscovered in Paris She wrote the book Popular Poetry of the Andes. The Parras took part in the concert of " L'Humanité" (official newspaper of the French Communist Party). An Argentine musician friend recorded at her home a version of "El Gavilán" ("The Hawk"), interpreted by Violeta Parra accompanied by her granddaughter on percussion. Violeta accompanied her children in the LP Los Parra de Chillán for the Barclay label. She began playing the cuatro, an instrument of Venezuelan origin, and the charango, an instrument of the high plateaus.

In April 1964 she did an exhibition of her arpilleras, oil paintings and wire sculptures in the Museum of Decorative Arts of the Louvre - the first solo exhibition of a Latin American artist at the museum. In 1965, the publisher François Maspero, Paris, published her book Poésie Populaire des Andes. In Geneva, Swiss television made a documentary about the artist and her work, Violeta Parra, Chilean Embroiderer.

Favre and Parra returned to South America, in June 1965. Violeta recorded two 45s, one with her daughter Isabel and another to instrumental music for cuatro and quena with Gilbert Favre, whom she christened "El Tocador Afuerino" (The outsider musician). Her music now incorporated the Venezuelan cuatro and the charango from the plateaus of northern Chile. EMI Odeon circulated the LP Remembering Chile (a Chilean in Paris), whose cover was illustrated with her own arpilleras. Soon after, however, Favre and Parra broke up, provoked by his desire to live in Bolivia where he was part of a successful Bolivian music act, Los Jairas.

Parra's energy was invested in reviving a version of the Peña (now known as " La Peña de Los Parra"), a community center for the arts and for political activism. Parra's Peña was a tent (somewhat similar looking to a circus tent) that she set up on a 30 x 30-meter piece of land in the Parque La Quintrala, at number 340 Carmen Street, in today's La Reina municipality of Santiago, in the area once known as la Cañada. Her tent hosted musical spectacles where she often sang with her children, and she and her children also lived on the same land. In La Reina, at La Cañada 7200, she also established a cultural center called "La Carpa de la Reina" inaugurated on 17 December 1965. She also installed a folk peña in the International Fair of Santiago (FISA), where she was invited. On the same year, she participated in numerous national television programs and signed a contract with Radio Minería which would be the last radio station to be used as a platform for her work.

Under the EMI Odeón label, she released the LP La Carpa de La Reina in 1966, featuring three songs performed by Violeta Parra and nine by guest artists announced at the carpa by Violeta herself. She travelled to La Paz to meet with Gilbert Favre, where she regularly appeared in the Peña Naira. She came back to Chile with Altiplano groups, presenting them in her carpa, on television, and in her children's Peña. She also performed in concert at the Chilean southern cities of Osorno and Punta Arenas, invited by René Largo Farias, under the "Chile Ríe y Canta" ("Chile Laughs and Sings") program. Accompanied by her children and Uruguayan Alberto Zapicán, she recorded for RCA Victor the LP The Last Compositions of Violeta Parra. In that year, Favre returned briefly to Chile with his group, but declined to stay, because in the meantime he had married in Bolivia.

"Gracias a la Vida"

Parra composed " Gracias a la Vida" in La Paz in 1966. In 1971 the song was popularized throughout Latin America by Mercedes Sosa, and later in Brazil by Elis Regina and in the US by Joan Baez. It remains one of the most covered Latin American songs in history. Other covers of the folk anthem include the Italian guitar-vocal solo of Adriana Mezzadri and La Oreja de Van Gogh at the 2005 Viña del Mar International Song Festival. It has been treated by classically trained musicians such as in the fully orchestrated rendition by conservatory-trained Alberto Cortez. The song was re-recorded by several Latin artists and Canadian Michael Bublé to gather funds for the Chilean people affected by the earthquake in Chile, February 2010.

It opens with a very common shift between A minor and E major chords, then it goes to G7-C/C7 before returning to the Am/E motif. "Gracias a la vida" was written and recorded in 1964-65, following Parra's separation from her long-term partner. It was released in Las Últimas Composiciones (1966), the last album Parra published before taking her life in 1967.

Parra's lyrics are ambiguous at first: the song may be read as a romantic celebration of life and individual experience, but the circumstances surrounding the song suggest that Parra also intended the song as a sort of suicide note, thanking life for all it has given her. It may be read as ironic, pointing out that a life full of good health, opportunity and worldly experience may not offer any consolation to grief and the contradictory nature of the human condition.

Gracias a la vida que me ha dado tanto

Me dio dos luceros que cuando los abro

Perfecto distingo lo negro del blanco

Y en el alto cielo su fondo estrellado

Y en las multitudes el hombre que yo amo

Translated into English:

Thanks to life, which has given me so much

It gave me two bright stars that when I open them,

I perfectly distinguish the black from white

And in the sky above, her starry backdrop

And within the multitudes the man I love

"Volver a los Diecisiete"

Another highly regarded song - the last she wrote - is "Volver a los Diecisiete" ("Being Seventeen Again"). It celebrates the themes of youthful life, in tragic contrast to her biography. Unlike much popular music, it moves through minor key progression creating an introspective if not melancholy mood and thus has lent itself to classical treatment as well as popular music.

Despite its originality, Parra's music was deeply rooted in folk song traditions, as is the case with Nueva Canción in general.

In 1967 Parra committed suicide via gunshot. Several memorials were held after her death, both in Chile and abroad. She was an inspiration for several Latin-American artists, such as Victor Jara and the musical movement of the "Nueva Cancion Chilena", which renewed interest in Chilean folklore.

In 1992, the Violeta Parra Foundation was founded at the initiative of her children, with the aim to group, organize and disseminate her still-unpublished work. Rodolfo Braceli's book Y Ahora, la Resucitada de la Violenta Violeta was adapted into a play called Violeta Viene a Nacer, starring Argentinian actress Virginia Lago in 1993 and 1994. In 1997, with the participation of Violeta Parra Foundation and the Department of Cultural Affairs, Ministry of Foreign Affairs of Chile, her visual work was exhibited in the Museum of Decorative Arts of the Louvre Museum, Paris.

In 2007, the 90th anniversary of her birth was commemorated with an exhibition of her visual work at the Centro Cultural Palacio La Moneda and the release of a collection of her art work titled, "Visual Work of Violeta Parra". 4 October 2015 marked the inauguration of the Violeta Parra Museum (Museo Violeta Parra) in Santiago, Chile. On 4 October 2017, Google celebrated her 100th birthday with a Google Doodle.

Violeta Went to Heaven (Spanish: Violeta se fue a los cielos) is a 2011 Chilean biopic about singer and folklorist Violeta Parra, directed by Andrés Wood. The film is based on an eponymous book, a biography, written by Ángel Parra, Violeta's son with Luis Cereceda Arenas. Parra collaborated on the film. The film was selected as the Chilean entry for the Best Foreign Language Film at the 84th Academy Awards, but it did not make the final shortlist. The film won Sundance's 2012 World Cinema Dramatic Jury Prize.

Chants et danses du chili Vol. 1 (1956)

Chants et danses du chili. Vol. 2 (1956)

Violeta Parra, Canto y guitarra. El Folklore de Chile, Vol. I (1956)

Violeta Parra, acompañada de guitarra. El Folklore de Chile, Vol. II (1958)

La cueca presentada por Violeta Parra: El Folklore de Chile, Vol. III. (1958)

La tonada presentada por Violeta Parra: El Folklore de Chile, Vol. IV. (1958)

Toda Violeta Parra: El Folklore de Chile, Vol. VIII (1960)

Violeta Parra, guitare et chant: Chants et danses du Chili. (1963)

Recordandeo a Chile (Una Chilena en París). (1965)

Carpa de la Reina (1966)

Las últimas composiciones de Violeta Parra (1967)

Violeta Parra y sus canciones reencontradas en París (1971)

Canciones de Violeta Parra (1971)

Le Chili de Violeta Parra (1974)

Un río de sangre (1975)

Presente / Ausente (1975)

Décimas (1976)

Chants & rythmes du Chili (1991)

El hombre con su razón (1992)

Décimas y Centésimas (1993)

El folklore y la pasión (1994)

Haciendo Historia: La jardinera y su canto (1997)

Violeta Parra: Antología (1998)

Canciones reencontradas en París (1999)

Composiciones para guitarra (1999)

Violeta Parra - En Ginebra, En Vivo, 1965 (1999)

Violeta Parra: Cantos Campesinos (1999)

Alcalde, Alfonso: Toda Violeta Parra (biography plus anthology of songs and poems) Ediciones de la Flor. Buenos Aires 1974

Dillon, Lorna. Violeta Parra: Life and Work. Woodbridge: Tamesis, 2017. https://www.academia.edu/31446206/Violeta_Parra_Life_and_Work

Dillon, Lorna. "Religion and the Angel's Wake Tradition in Violeta Parra's Art and Lyrics" Taller de letras 59 (2016):91-109. URL: <https://www.academia.edu/31446404>

Dillon, Lorna. "Defiant Art: The Feminist Dialectic of Violeta Parra's Arpilleras." In Identity, Nation, Discourse: Latin American Women Writers and Artists, edited by Claire Taylor, 53-66. Cambridge: Cambridge Scholars Publishing, 2009.

Escobar-Mundaca, A. 'I Don't Play the Guitar for Applause: Turning the World Upside Down', in Vilches, P., Mapping Violeta Parra's Cultural Landscapes, Cham: Palgrave Macmillan, 2018.

Escobar-Mundaca, A. Translating Poetics: Analysing the Connections Between Violeta Parra's Music, Poetry and Art. PhD thesis, The University of Sussex. 2019. http://sro.sussex.ac.uk/id/eprint/84983/

Escobar-Mundaca, A. Violeta Parra, una aproximación a la creación interdisciplinaria. Master Thesis. Universitat de Barcelona: Spain, 2012. URL: <http://diposit.ub.edu/dspace/handle/2445/33027> (accessed: 11 August 2014)

Kerschen, Karen. Violeta Parra: By the Whim of the Wind. Albuquerque, NM: ABQ Press, 2010.

MANNS, Patricio. Violeta Parra. Madrid: Júcar, 1978; 2ª ed. 1984

PARRA, Ángel. Violeta se fue a los cielos. Santiago de Chile: Catalonia, 2006

PARRA, Eduardo. Mi hermana Violeta Parra. Su vida y su obra en décimas. Santiago de Chile: LOM Ediciones, 1998.

PARRA, Isabel. El libro mayor de Violeta Parra. Madrid: Michay, 1985.

PARRA, Violeta. Violeta Parra, Composiciones para guitarra. Eds. CONCHA, Olivia;

Moreno, Albrecht: "Violeta Parra and 'La Nueva Canción Chilena." Studies in Latin American Popular Culture 5 (1986): 108-26.

SUBERCASEAUX, Bernardo y LONDOÑO, Jaime. Gracias A La Vida. Violeta Parra, testimonio. Buenos Aires: Galerna, 1976

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Violeta del Carmen Parra Sandoval ( Spanish pronunciation: [bjoˈleta ˈpara]; 4 October 1917 - 5 February 1967) was a Chilean composer, singer-songwriter, folklorist, ethnomusicologist and visual artist. She pioneered the Nueva Canción Chilena (The Chilean New Song), a renewal and a reinvention of Chilean folk music that would extend its sphere of influence outside Chile.

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(...)
La carta dice el motivo
que ha cometido Roberto:
haber apoyado el paro
que ya se había resuelto.
Si acaso esto es un motivo,
presa también voy, sargento, sí.

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Maldigo del alto cielo

Maldigo del alto cielo

la estrella con su reflejo,

maldigo los azulejos

destellos del arroyuelo,

maldigo del bajo suelo

la piedra con su contorno,

maldigo el fuego del horno

porque mi alma está de luto,

maldigo los estatutos

del tiempo con sus bochornos,

cuánto será mi dolor.

Maldigo la cordillera

de los Andes y la Costa,

maldigo, señor, la angosta

y larga faja de tierra,

también la paz y la guerra,

lo franco y lo veleidoso,

maldigo lo perfumoso

porque mi anhelo está muerto

maldigo todo lo cierto

y lo falso con lo dudoso,

cuánto será mi dolor.

Maldigo la primavera

con sus jardines en flor

y del otoño el color

yo lo maldigo de veras;

a la nube pasajera

la maldigo tanto y tanto

porque me asiste un quebranto.

Maldigo el invierno entero

con el verano embustero,

maldigo profano y santo,

cuánto será mi dolor.

Maldigo a la solitaria

figura de la bandera,

maldigo cualquier emblema

la Venus y la Araucaria

el trino de la canaria,

el cosmos y sus planetas,

la tierra y todas sus grietas

porque me aqueja un pesar,

maldigo del ancho mar

sus puertos y sus caletas,

cuánto será mi dolor.

Maldigo luna y paisaje,

los valles y los desiertos,

maldigo muerto por muerto

y el vivo de rey a paje,

el ave consu plumaje

yo la maldigo a porfía,

las aulas, las sacristías

porque me aflige un dolor,

maldigo el vocablo amor

con toda su porquería,

cuánto será mi dolor.

Maldigo por fin lo blanco,

lo negro con lo amarillo,

obispos y monaguillos,

ministros y predicandos

yo los maldigo llorando;

lo libre y lo prisionero,

lo dulce y lo pendenciero

le pongo mi maldición

en griego y en español

por culpa de un traicionero,

cuánto será mi dolor.
~Violeta Parra~

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Llega el día de la Hispanidad
donde todos los países
de habla hispana
nos unimos para celebrar
el viaje de Cristóbal Colón

Isabel la Catolica
lo apoyó, y cruzó
el ancho mar
Y llegó a los países
que hoy en día son hermanos

VIVA ESPAÑA.
VIVA EL DIA DE LA HISPANIDAD

Rayan Essekelli

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A mi casa llega un gato, Violeta Parra

A mi casa llega un gato,
pero es un gato decente,
pero es un gato decente.
Si yo le tomo la cola
al tiro muestra los dientes.
A mi casa llega un gato.

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Noumidia Maghfour Amjahid

He aquí la gesta de la noche,
su fortuna de estrellas y de lenguas de ahorcados,
su corazón de mercurio que tanto pesa y hace llorar,
sus intrigas y sus caballeros.
He aquí la noche como un nudo, amor mío, en un nudo.
Extraño, ya lo dije, cuando la tarde tiene un amor dual que

se desmaya y cae sobre los ojos de la lombriz,
o al cofre de la yerba y reposa.
Extraña el ara de la noche y la sábana que arde y
decapita.
Extraño el grito de los chacales mártires
y los pequeños búhos en santidad,
el amor y su óxido y el pato que se escapa del estanque,
la oca ebria con su aureola de alcohol,
lo que inexiste,
san Tarsicio o el ánade príncipe que destroza su cetro y
se

lo
bebe a sorbos sospechosos,
la acción del oro en licuación,
acto y obra y suma suicida del oro,
o el ánsar nival que aún solloza contemplando los poemas

patíbulos.

Blanca Andréu

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Necesito tener el alma mansa
como una triste fiera dominada,
complacerle con púas la tersura
de su piel deslumbrada en mansedumbre.

Es preciso domarla, que su fiebre
no me tiemble en la sangre ni un minuto.
Que la aneguen los fuegos del aceite
más espeso de horror, y que resista.

¡Oh, mi alma suave y sometida,
dulce fiera encerrándose en mi cuerpo!
Rayos, gritos, helor, y hasta personas
acuciándola a salir. Y ella, oscura.

Yo te pido, amor, que me permitas
acabar con mi tigre encarcelado.
Para darte (y librarme de esta furia),
una quieta fragancia inmarchitable.

CARMEN  CONDE.

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"Busca y anhela el sosiego", Rosalía de Castro

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"Busca y anhela el sosiego", Rosalía de Castro

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Busca y anhela el sosiego…
mas… ¿quién le sosegará?
Con lo que sueña despierto,
dormido vuelve a soñar.
Que hoy como ayer, y mañana
cual hoy, en su eterno afán,
de hallar el bien que ambiciona
-cuando sólo encuentra el mal-,
siempre a soñar condenado,
nunca puede sosegar.

Enlace de piktochart:

https://create.piktochart.com/output/49633170-my-visual

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Soy alegre y afable en el invierno,
en el verano piso por la playa,
en el otoño pliso los visillos,
estoy como una cabra en primavera.

La ciudad me da asco.
No así el río.
Los ojos mudos de los hombres pasan.
Sólo se cose a mí este silencio
que disfruto cuando las bestias duermen.

Soy más bien buen carácter,
y nadie dice
que desde que nací yo duermo sola.

Mouloud

Enlace de canva: https://www.canva.com/design/DAEKBqcB- p0/UglORaq7ApDRQ5ctV_lUNw/view?utm_content=DAEKBqcB-p0&utm_campaign=designshare&utm_medium=link&utm_source=publishsharelink

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Tengo la dicha fiel
y la dicha perdida:
la una como rosa,
la otra como espina ...

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DÍA DE LA HISPANIDAD

Busca poemas de mujeres españolas e hispanoamericanas y escribe al menos algunos versos en el muro.