Pablo García Casado (Córdoba, 1972) always offered originality, a different proposal, another look. Since he published The Outskirts in 1997, everything has been that phrase with which Borges defined literary creation: see the amazement where others say custom. The poet has never settled in a style. Always in one's own personality, in the limits of risk. García Casado has just published The Camera Loves You, a set of poems published by Visor that talks about the world of porn movies, but is not about the world of porn movies. Here is the emotional apathy, laziness, unemployment, taboo. Here the poem, the anecdote of the poem, is the medium with which they take us to other limits. To other places.

Prose poems about the world of porn. How do you get to this book? Well, porn without porn. In the book there is nothing about that. Anyone looking for erotic literature will be disappointed. I think everything comes a little by chance. You try to see a web page, whatever it is, and an image of a woman jumps on a banner. You know that there are other images of women and men who are in pornography. I begin to think that we physically know all the anatomy of these people, but that, however, we do not know anything beyond their own intimacy. Expressive simplicity predominates in the book, but there is also a lot of suggestion, of enigma My poetry gathered is called Off the Field, and it is no accident. The things that emotionally happen to the reader proceed outside the poem. That is, what is not counted: that is the important thing. That is why this is poetry and is not narrative. In narrative there is also much off-field, but in poetry the off-field is everything. Emotions cannot be counted. And another second question: poetry has to show a mystery. The mystery can be scratched from surrealism or from today's realism. Any book of poetry has to appear in an unknown region, even if that implies taking risks. Perhaps some readers will say that it is not a book of poetry. It depends on how you understand poetry. For me poetry is the genre of the possible. This book is very optimistic with the possibilities of poetry. Agustín Fernández Mallo trusts in poetry, can pour extraliterary aspects into the poem and there is no problem. The growth of a genre has always come because elements that were not before have been incorporated. From Petrarca to Breton and García Lorca. This book looks for other genres and I think this should be the attitude of current poetry. Is poetry the balance between silence and word? Without a doubt. What is not said matters more or as much as what is said. In fact, what is said must be at the service of what is not said. That is the land where the poem grows. Should we ban porn? If we take out the list of countries that want to ban porn, they are places where I wouldn't live. Another thing is if you have to regulate access to these pages according to certain ages. If Google Maps now allows you to erase the license plates of a car and faces, how can it not be limited that children have access to that kind of material? In addition, I believe that porn has existed, exists and will exist. The desire for prohibition, which comes from a part of feminism, is faced with another feminism that is committed to a woman-friendly pornography. I think it's a good way for porn to evolve towards other searches. And he is doing it because there are more and more women who consume porn that do not admit that treatment to them. So, is porn sexist? The vast majority, yes. Then there is a type of porn cinema that tries not to be. We must also be clear that we are contradictory, which at one time attracts us at another time disgusts us. Does porn influence our sexual relations? Yes. For example, in the 40s and 50s, the way of kissing changed in Spain because of the influence of cinema, who did you want to look like ... Although one thing is to influence us and another thing is to seem to cancel our will. The porn is reached at will. And then the human being is free enough to say if he incorporates these behaviors or not into his life. There is one last poem in which he points out the social hypocrisy of those who watch porn but at the same time censure it ... The political positions and religiously they tend to ban. Extremisms always try to sneak into your bathroom. And in your bedroom. I speak of the left, of the right ... The most extreme capitalism ... Everyone tries to enter your intimacy. We could talk about ethical issues in this book. However, for you, poetry is not an exercise in moral proselytism, it cannot be done. You can't do that kind of thing. Why? First: I'm not the person who should choose how you should behave. Second: I cannot have any moral superiority. For the character to function as such (which I think works in the book) it has to be him (or her in this case). I can not judge. I can't even do an exercise in goodism. I can't even have a certain condescension. That happens sometimes in the treatments of the subjects; For example, social poetry often falls into condescension and morality. Morality is fine for desktop soap operas, but not for contemporary postmodern discourse. If I had a moralistic position, I would demonstrate a moral superiority over the character. And that is disgusting. The character chooses from the minute one, and until the end, his destiny. Is that the main claim of these poems? There is a moment in the book in which we could ask ourselves if we do things because we want or because circumstances oblige us . There is a poem that says where are the limits of the will. The book of poems has to offer more questions than certainties. Doesn't it take sides then? I think I do take sides, what I don't take is a moral position. I take sides because I install the camera from the inside. I think, and this is already a closed question, that the main thing in poetry is not so much what or how, but from where. That is the real debate that writers have. And that's why this is an awkward book.

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