Marginalia Nº 5 - August 2003

Marginalia Nº 5 - August 2003





Marginalia Nº 5 - August 2003

Autodidact. Member of the Ibero-American Academy of Poetry, Cuenca chapter since its foundation. Author of two collections of poems: "Denuncia de Sueno" and "Camino de mediodía". Passionate about poetic writing since adolescence. With a style characterized by great simplicity and evocative force (love, land, friendship, family), Inés Márquez represents, without a doubt, one of the most classic and traditional channels of Ecuadorian lyric.

Here is a short interview:

MARGINALIA: What is poetry to you?

IMM: Poetry gives life to the spirit. Without her life would be quite empty. Poetry is the one that sows everything dark in life rosy, the one that makes others love and serve. The soul seems to have more soul and the brain is in the heart.

MARGINALIA: How has poetry changed in recent years?
IMM: A lot. Unfortunately, those of us who have written before don't feel good at writing like that. I like that poetry has a musical background, that it has something like ... more profound ... writing in a more extensive way to be able to describe all the landscape that I have dreamed of. I envy those who write in a few lines, in a few stanzas ... I am from ancient poetry.

MARGINALIA: Does poetry retain its own place in this fast-paced society?
IMM: At this time when life is lived by leaps and bounds, the charm of poetry is deteriorating among people who do not write, because many times they prefer to go to a soccer field, to meetings, to material questions ... As before, there are no meetings ... with music ... where poetry was the queen of everything we were living. Unfortunately this is declining. Youth have many other things that attract them, and it is very rare to see young boys who meet for a few minutes to write and read poetry ...

MARGINALIA: So the current times are not conducive to art, to poetry?
IMM: Maybe for poetry, less. Art does: music is cultivated, there are good stages for music, artists come from other parts, but not poets. In the House of Culture from time to time there are meetings, but more for book "launches" and nothing else ...

MARGINALIA: Why is the cultivation of poetry important among young people?
IMM: It is very important. So that poetry is reborn as before. Cuenca being the cultural center of the country, it would always be a shame if today's boys did not continue and did not revive in them all the culture of their ancestors. But, unfortunately, this is what happens ... They should be made to see that they have to live a more complete life, where they are more useful to society. Around there I read a very nice thought: "Write, because writing gives life to death", that is, whoever writes is immortalized. If this does not happen, we die, and we die forever.


A new sunrise
open sea,
a sailboat arrival
to the shore
waking up in the sand
to the seagulls
that draw landscapes
with its wings ...!

A fish song
and breezes,
while the wind
like a man whistles
gravid with horizons
and of heavens ...

And between the white rocks
with foam
light faded
the day fades
in a meekness
like a Christ ...

Cuenca poetry

To save yourself from suffering
he refrained from loving
of committing mistakes
tempted to reach holiness
     already wisdom
down the path of righteousness
     and purity.
He looked into the eyes of others
and it was beautiful and terrible
like an archangel.
Someone must have cried
     for him
the eve of his fall.

Carlos Eduardo Jaramillo placeholder image 

Universal poetry

Blonde was the spike of summer blue.
The white farmhouses in the distance gave
light brushstrokes to the brown of the field.
The river carried in its green waters
scalps of algae curdled with frogs.
The gentle stream broke into crests
when faced with pink stones.
We were children who by the streams
We were looking for clues of elves and fairies.
In the warm afternoons the sun declined
solemn funeral of hope
And birds sang among the gorse.

Emilio Ballesteros (Spanish)

Guest poet

Franklin Ordonez Luna   

      If my voice died on the ground,
take it to sea level
and leave it on the bank.

      Take it to sea level
And name her captain
of a white vessel of war.

      Oh my decorated voice
with the sailor insignia:
an anchor over the heart
and on the anchor a star
and on the star the wind
and the sail on the wind!

             Rafael Alberti (Spanish)
This poem was written by Rafael Alberti, a member of the Spanish Generation of 27. Alberti was born in the port of Cádiz; Living on the edge of the Peninsula and having the Mediterranean as a horizon, leads us to deduce that he was in love with the sea, and in his poetics we find it as an element not only of adventure, but also liberating.

In the poem that we comment on, the sea is in charge of taking the voice of the poet (his poetry) to the ports of the world: "If my voice died on land, / take it to sea level / and leave it on the shore" it seems threatening, as if the silt or the litter wanted to destroy the voice that wants to be free and adventurous. The sea is the setting; the voice, which suggests poetry, and everyday elements used by sailors, are the instruments that the artist uses to poeticize. Alberti surprises us with beautiful superimposed images, the new one depends on the previous one to survive and wrap us in its magic.

In this way, one element is superimposed on another, tangible everyday elements (vessel, insignia, anchor, star, sail) are fused with the voice and the wind that are more or less abstract.

And let's look at the rhyme of verses 1, 3, 6, 8, 10 and 12. And the repetitions of the last lines ... which help to achieve that melody of the poem.

In conclusion, this poem shows us that we can be free, that the sea is synonymous with freedom. Freedom makes men happy. Men without freedom are a barren pampas, a sea without stars, a dead voice on land.



Madrid, Prometheus Poetry Association,

The Asociación Prometeo de Poesía (declared by the International Writers and Artists Association as the BEST POETIC ASSOCIATION, in 2001), has just published this beautiful and strict selection of Ibero-American poets (94 in total). The work includes authors from different countries in the region: Spain, Argentina, Chile, Cuba, Ecuador, Guatemala, Peru, Portugal, Uruguay, Venezuela ...
Among the best known names in the sample we cite: Leopoldo de Luis, Juan Ruiz de Torres, Emilio Ballesteros (Spain); Rosa María Sobrón, Luis Ricardo Furlán (Argentina); Concha Zardoya, Alfonso Larrahona Kasten (Chile); Marta de Arévalo (Uruguay), Carlos Chacón Zaldívar, Luis Mario (Cuba); Sara Vanégas Coveña (Ecuador).
The different origin and experience of each author means that their poems also display varied styles and different invoices: there are them for all tastes and demands. More or less traditional or very modern, moderately long or very short, cold or very charged with feeling, those who bet on everyday life or those who rise above it ...
The work, which ends with the compilation of a minimal bio-bibliography of the participants, is, without a doubt, a representative sample of the poetry that is being written today in Latin America.

Alexandra Andrade


Magaly Vanegas Covena
Cuenca, National Union of Educators, 2003

Persisting in her way of making poetry with few words and few lines, Magaly presents this, her latest book, which once again combines prose and verse. Sober texts, with the exact words, the essential ones to evoke, to suggest and imagine a world different from everyday life, so often overwhelming and gray. Thus, in prose, we witness the creation of idyllic, nostalgic landscapes, or the evocation of hidden, mysterious cities. (“September has left its green cloak to dress in gold // In the forest it rains flowers and leaves, the birds fall asleep in the trees, the butterflies fall blinded by the light, the fruits dry up, the blackberries wither.// A boat sails down the river, lonely and aimlessly. The wind carries perfumes and autumn melodies. ")
And, in verse, we read short texts, very short; brushstrokes of impressions, dreams or feelings: brushstrokes of life ("Yellow- / sunflowers and gorse / march towards the sun") ("To reach you / I stretch out in space / and absorb time / that separates us").
With LOS PUENTES DE ZÁRTMONT, its author is confirmed as one of the most suggestive voices in current Cuenca and Ecuadorian poetry.

Alexandra Andrade


Bolivar Delgado Arce
Basin, 2002

Bolívar Delgado Arce, a member of the Literature Workshop of the Ibero-American Academy of Poetry, is one of those restless writers, good readers and good travelers, who leave in their notes experiences, impressions, reflections ...
With PALPITACIONES DE AQUÍ, DE THERE AND DEL RETORNO he gives us an interesting compilation of texts, some already edited, together with others of recent writing; book of carefree intimacy, which consolidates Delgado's work, search, recurring motives. Alongside romantic pieces we find meditative, reflective poems, sometimes with a certain nuance between ironic and picaresque.
Nature is another constant in his work, which leads him, repeatedly, to a gentle vision of a religious nature ("You were hoisted on a rough tree / and you have nailed me against the world itself / What can I tell you, owner of nothing and everything / if I am the work of your hand, yours now and in all / part? ”).
PALPITATIONS FROM HERE, THERE AND THE RETURN is revealed, in short, as a pleasant book, of great thematic richness, with beautiful successes, in which, we hope, the author insists, discarding some obvious and easy moments, strengthening that work of selection and screening, whose fruits we are already beginning to harvest ...

Sara Vanegas Covena


Year 3, Number 5
April 2003
Brazil 3-101, Cuenca
Fax: 818 840

Sara Vanegas Covena

Collaborating in this issue:
Inés Márquez Moreno, Carlos Eduardo Jaramillo, Luz Argentina Chiriboga, Marco Tulio Romero, Bolìvar Delgado Arce, Carmen Váscones, Julia Erazo Delgado, Emilio Ballesteros, Marta de Arévalo, German Pardo García, Vicente Gerbasi, José Geraldo Neres, Franklin Ordoñez Luna, Alejandro Andrade.

Anl. Katherine Ortiz Vidal

The management is not responsible for the opinions contained in the signed articles. Partial or total reproduction is allowed, if the source is cited.

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box: 01-01-1178,
Ecuador basin