Gabriela Kizer - Pavesa

"Pavesa es el cuarto libro publicado de Gabriela Kizer (1964), después de Amagos (2000), Guayabo (2002) y Tribu (2011). Sin embargo, sus poemas fueron de hecho escritos “a comienzos de los años 90”, como ha dicho la autora. El aplazamiento cuenta, sobre todo, como señal de un misterio: ¿cómo referirse a María Magdalena y su compleja condición de prostituta y santa? Y, más allá: ¿cómo representar sea el arrebato místico, sea el orgasmo? Kizer entiende bien la tradición iconográfica relativa a la figura de María Magdalena, casi siempre en la postura ambigua de la mujer entregada al sexo o a la devoción. Una línea parece aludir a ese borde vago: “Ella confunde voces”. Esa actitud es acá una escritura que apela tanto al verso como a la prosa; a la declaración de amor y sus atuendos, y, más tarde, a la búsqueda de lo más precario. El deseo se mueve cíclicamente en esta obra de la presencia a la desaparición. La cruz vacía a la vez alude a la resurrección de Cristo y a la acogida del placer: “Amo a Jesús cuando la cruz está sola,/entonces deja caer las manos por mis hombros/como quien no quiere”. En Pavesa, igual que en la Santa Teresa de Borromini (y en los ensayos de Georges Bataille), el erotismo se descubre como la zona de contacto entre lo divino y lo humano".  Luis Moreno Villamediana.

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"Pavesa is the fourth book published by Gabriela Kizer (1964). It comes after Amagos (2000), Guayabo (2002) and Tribu (2011). These poems, however, were in fact written “in the early 90s,” as the author has said. The deferment might be thought of, above all, as the sign of a mystery: how to talk about Mary Magdalene and her complex condition as a prostitute and saint? And furthermore: how to represent either the mystical rapture or the orgasm? Kizer understands very well the iconographic tradition related to the figure of Mary Magdalene, almost always in the ambiguous position of a woman devoted to sex or religious worship. One line seems to allude to that uncertain boundary: “She confuses voices.” That attitude is seen here as a writing that draws on both verse and prose; on the description of love and its outfits, and, later, on the search for the meager and unstable. Desire moves cyclically in this work from presence to disappearance. The empty cross simultaneously alludes to the resurrection of Christ and the acceptance of pleasure: “I love Jesus when the cross is alone,/then he lets his hands fall from my shoulders/like someone who doesn't want to.” In Pavesa, as in Borromini's Saint Teresa (and in the essays by Georges Bataille), eroticism is discovered as the contact zone where the divine and the human meet." Luis Moreno Villamediana. 

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