Travel without exceeding the boundaries of the property

From the valuable contributions of figures linked to literary Romanticism, we intuit that landscape affects spirits and emotions. Based on the poetic actions of the flâneurs and of the flâneueses We begin to suspect that the ground we walk on can end up becoming the most perfect self-portrait. And it is thanks to the reflections and performative actions of the Situationist International that we have no doubt that all geographies, both natural and urban, affect behaviors and psychologies. From these references, and many others, the art of the proposal known as psychogeography is built, and recently two Mallorcan poets have developed their respective latest books based on this possibility of literary research: Sebastià Alzamora with August Room / Mother Tongue in Proa and Lluís Maicas with Puig Ferrer at Ensiola Publishers. I spoke about Alzamora's powerful work a few months ago in this same space, so now I want to celebrate the arrival of the new collection of poems by one of the most unique and incorruptible authors of our house, Lluís Maicas.

As the author himself explains in the prologue, Puig Ferrer is "a morphological anomaly, a bump on the flat land that surrounds it," a hill where he has lived for almost twenty-five years and which is twinned with Puig del Senyor Pere. This vantage point is the promontory from which he contemplates the city of Inca and the stars, but it is also the poetic subject matter of his new work. However, Puig Ferrer is not just "a steep piece of landscape," but rather a "path of metamorphosis," since under Maicas's presence and participation it is transformed into an open-air museum: "What I do first / every morning, / on the piece of clay / land where stems / grow / to modify the landscape." Later, he asserts that every time he looks at it, he "steals a fragment / of the landscape / which, framed, hangs / on the wall / of the retina of being." Similar to Lluís Calvo and Perejaume, Lluís Maicas observes his immediate surroundings and actively engages with them, encountering sublime works of art in the process. From this interaction emerge enigmatic, corrosive verses, brimming with humor and disruptive epiphanies that propel new perceptions and new awareness.

Puig Ferrer is Lluís Maicas's kingdom, a humble psychogeographical theater where ticks hold meetings to divide up the blood of their victims and where thrushes and shotguns discuss philosophy. But Puig Ferrer It is also a book that continues to confirm Maicas's gifts, who has been able to construct a very personal cosmogony, as well as one of the most genuine and daring textual universes of Catalan literature at the turn of the 20th and 21st centuries, with short, impactful poems.