{"id":10400,"date":"2020-02-18T23:36:40","date_gmt":"2020-02-18T23:36:40","guid":{"rendered":"https:\/\/revistaidees.cat\/cinc-advertencies-i-una-antologia\/"},"modified":"2020-03-05T23:16:42","modified_gmt":"2020-03-05T23:16:42","slug":"cinc-advertencies-i-una-antologia","status":"publish","type":"post","link":"https:\/\/revistaidees.cat\/en\/cinc-advertencies-i-una-antologia\/","title":{"rendered":"Five warnings and one anthology"},"content":{"rendered":"\n

First warning: names, verses, styles, accents, traditions and languages are missing from this anthology. And bodies – bodies are missing too along with forms, tonalities, other ways of using a pen – if there is even anyone still writing with a pen today, and yes, of course there is, what else, what a good sign.<\/p>\n\n\n\n

Second warning: I can justify the selection on any basis \u2013 or as many bases \u2013 as you like. I could say age, and I could say diversity in terms of origin if it wasn\u2019t for the fact that wherever possible we should avoid talking about people’s origins. If required, I could talk about each poet’s history and explain that they have been included on theoretical grounds that their verses and their poetic trajectory bear out. I could do all that and could also explain that we always select \u2013 you do too \u2013 for reasons that are to do with us, to do with the moment the selection is made \u2013 it\u2019s not the same to choose poems in the summer as to do it in the middle of February \u2013 reasons to do with our own personal experience and what we have read. So this selection is me. Or rather: it\u2019s the me that I was when I made the selection, a few months ago. Today it could well be that the threads and associations that then distilled to 14 poets would take me to other places, because there are lots of them: places, possibilities. Let’s celebrate them, particularly the ones that are there, with thanks.<\/p>\n\n\n\n

Third warning: in this anthology each poet speaks for herself. I\u2019m not going to do what is so often done and end the text by drawing out the defining characteristics of feminist poetry, or rather poetry written today by poets who consider themselves feminists. I\u2019m not going to do it precisely because if there is one call that is repeated it is the wish \u2013 if not the imperative \u2013 to make poetry a space that questions not just who we are but also the very words that we use when we say who we are.<\/p>\n\n\n\n

Fourth warning: the selected poems challenge not only gender roles and stereotypes but most people\u2019s conception of what poems that challenge gender roles and stereotypes are like. Here you will find dissident irreverence, desires that celebrate plurality and demand the markswomanship of an arrow, outpourings that make ladders of vulnerability, failures that put motherhood and wombs the other way round, broken mirrors whose thousand and one shards kaleidoscope what they reflect and, in all of them, a fearless irony that could as well make you laugh as wound you.<\/p>\n\n\n\n

Fifth warning: this text, like poetry, is full to the brim with tricks, but the fact is that no text that introduces an anthology is free from tricks. None at all: that\u2019s one of the lessons of feminism.<\/p>\n\n\n\n

Happy reading, or rather, happy fall.<\/p>\n\n\n\n

Mireia Calafell<\/p>\n\n\n\n

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Anthology of feminist poetry<\/h3>\n\t\t\t\t\t\t\t