I have always been aware that poetry for me stretched for life . The rush therefore not part of my relationship with the poem . The final judgment will make the time and , unlike the Judgement of religions , I know I do not ever result. Corresponds only to me -and not just the day to day poems without justification or compensation be pleased them looking and writing component . None of us have much, even those that seem to count much, but we can save the same , curiously , you can also save the poem : its intensity honest.
Joan Margarit
(From the preface of the first edition Tots els poemes 1975-2011, Barcelona 2011, Grup 62, La butxaca)
Sing their own mystery, and must decide where to sing: This research is performed every poet in his own way. That is what the style, the voice, the voice that must be heard if you want to find. The place where I try a place in time. This is the moment when the world is connected with the sentiment. The instant flashes when illuminated the dark and opaque. I try to exercise emotional intelligence through poetry, which I do not think that it is more characteristic to identify prose regarding the conciseness and accuracy. It is the most accurate of the letters in the same way that mathematics is the most exact science. And if it is a bad poem embrutarà the world like a garbage bag left in the street. Because a bad poem is not neutral, it helps to get dirty, to scramble over the world, like a good poem contributes somehow to order and hygiene in the world. Despite knowing that eventually dominate the trash: so asserts the second law of thermodynamics, which is a serious and terrible start, which also establishes the relationship between literary glory and death.
To record what has been heard at a given time , or try to preserve it against wear and tear of time, is one of the most basic defenses against anxiety by the ephemeral nature of our lives. Darwin wrote that ” the desire to signal any event with a lot of stones around the highest point seems to be an inherent passion for humanity .” Each poem says something in my life , but the intention at the time of writing further. Its ultimate aim is that there is someone somewhere who read it, it is also aware that he or she who has put a lot of stones somewhere high in their own lives to indicate an episode inside.
Joan Margarit
(From the preface of Els primers freds, which includes poetry from 1975 to 1995, Barcelona 2004, Grup 62, Proa)
When a verse reaches tell us what seemed inexpressible, is that words have occupied a place that had been the golden age of languages, which began to be displaced as the episodes of Babel at the beginning of a long destruction culminating in dictionaries, academies and other miseries. A poetry has exercised their fate nostalgia for that golden age in an endless attempt to recover the meaning and power of words. Poetry does not matter, then, the construction of the language areas that have never existed, but the probability of a miracle would poem reproduction of a lost order. In these circumstances, the poetry reader has more to do with the music- -making a parallel with the performer must be limited to those who listen to a concert. Why there are so few, readers of poetry, and why they are so loyal. Those who have made the effort to learn how to interpret a poem, learn to listen to the fundamental order of the words, have agreed to renounce a world that difficult.
Joan Margarit
(Epilogue of the Edat roja, Barcelona, Ed. Columna, 1991)
There are many types of memory, or maybe you are just different aspects of a single , but I mean this part of ourselves where we keep the feelings that we have gone through and transforming . This is where I wanted my poems.
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For this reason there is usually music and poetry remain closely linked , not only in specific circumstances , but long periods of our lives . They are poems , being reread speak with the same intensity and new nuances , is music that brings the past to play this instant, leaving him only separated from us by tel long, fine but impenetrable.
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I am closed , not inside a house , but within each of these readers are essential , because the poems do not exist without them. In ours, where we are more solitary , we expect poems and music over a roaring fire be quenched only by death. Meanwhile , in the midst of frost and fog , surrounded by the inclemency of the weather, this shelter is always waiting.
JoanMargarit
(From the preface of Aiguaforts, Barcelona, Ed. Columna, 1995)
While writing station France was aware that I do not have as runway towards the last poem and intellectual igència . This operation involves distillation is the most distinguished poet of each other : a distillation removes only what belongs to him and would have no interest to readers. That is, I was aware that he did write a poem was, above all , universal look of my past. Everyone is very similar , so far an artist can affect someone who does not know . What differentiates us with a fait any , we say a personal misfortune is not what happens to us , but the ability to explain it . Made some bad elitist intellectuals both confused and think that they are the very special things happen.
Joan Margarit
(From the preface of Estació de França in the first edition of Tots els poemes 1975-2011, Barcelona 2011, Grup 62, La butxaca).
I would say that the first news that I regard the existence of a poem is not only verbal . And here begins the mystery of the poetic word . You can have a diverses- languages or culture, but may not serve any of these to enter the place where the poem. As the stories, is entering a crypt and need to know the password to open it . All these issues are irrelevant when the mother tongue and culture match. When it is not, the language of culture can be built on top of a cathedral crypt inaccessible.
Joan Margarit
(From the preface of Estació de França, Ed. Hiperion, Madrid 1999)
Sobre la concisió diria que un poema és com l’estructura d’un edifici molt particular a la que no li pot faltar ni sobrar ni un pilar, ni una biga: que si trèiem una sola peça, s’enderrocaria. Si en un poema es treu una sola paraula, o es canvia per una altra, i no passa res, és que no era un poema. O encara no era un poema. Només arriba a ser-ho quan no se’n pot treure o canviar cap peça de l’estructura. Però llavors tampoc serà necessàriament un bon poema: això és un altre tema que té més a veure amb l’altra característica que jo esmentava: l’exactitud: un poema ha de dir just el que necessita (la major part de les vegades sense saber-ho) el seu lector o lectora. D’aquesta exactitud ve el poder de consolació de la poesia, perquè la poesia serveix per introduir en la soledat de les persones algun canvi en que proporcioni un major ordre interior enfront del desordre de la vida. A l’angoixa per aquest desordre a vegades s’intenta fer-hi front amb els entreteniments, però la diferència és que d’un entreteniment se’n surt tal com s’ha entrat. Només s’ha passat una estona. En canvi, en acabar de llegir un poema ja no som els mateixos perquè ha augmentat el nostre ordre interior.
Joan Margarit
(De l’Epíleg a Càlcul d’Estructures, Grup 62, Proa, Barcelona, 2005)