10 Lately I have returned to Friedrich Nietzsche and his powerful Ecce homo with a translation by the missed J. M. Terricabras from the defunct Accent Editorial. In one of the most vibrant passages, the German philosopher who used a hammer to think and write recalls a peak of personal decadence – shortly before setting out to write Human, All Too Human as an antidote – when he dedicated himself to ancient metrics with meticulous precision and ailing eyes. How tiresome. I agree with him: indeed, wasting time and effort on ancient metrics and stagnant little rhymes, a cultural reactionism that coincides with current political reactionism, is synonymous with decadence, and such agony, in recent times, seems to be gaining momentum and traction around us, especially among the younger generations, who seem to have hatched old. To combat such foolishness, such shortsightedness, it is advisable to read works that awaken new senses, that are created from the most radical independence and an expressiveness rich in resources and nuances, books with originality as an absolute foundation and imbued with the stubbornness to write against everything, despite everything. Few works align more with these principles than that of Lluís Maicas, one of the most prolific, genuine, and unique writers in Catalan literature spanning the 20th and 21st centuries.Responsible for more than a hundred titles of poetry, narrative, diary writing, and artistic works, Lluís Maicas returns to the commercial market – and I say this because many of his titles, which he calls "illegally distributed," can only be found at the Inca Library, the March Library, and the Library of Catalonia – with a precious volume: Claper de pedres fogueres in the Versos collection of the Aula de Poesia Jordi Jové of the Publications Service of the University of Lleida. I can add little to what Joan Pomar Mir explains in the magnificent prologue about the meaning of the claper, the main wall that supports the architecture of the collection, but I can say that it seems that both the author and the companion have fully absorbed the telluric, demiurgic sense of Damià Huguet, a craftsman of words with calluses up to his elbows from dedicating himself so much to a rampant, independent, fascinating creation.Each poem – which functions with its own entity but at the same time knows how to adhere to a larger unitary composition – is born from a tiny anecdote that becomes large, expansive, and explores personal and collective territories to make them wide, developing different writing techniques, from repetition to the Russian nesting doll game, and ends up building solemn monuments that do not renounce tenderness or irony, the provocative jab, the reconsecrated host, the end as a sublime punch. With Claper de pedres fogueres, Lluís Maicas gives us a masterpiece, another one. And there are already quite a few.

]]> 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.

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