ABSTRACT

Albert Garcia Elena’s two books of poetry from 2017, Silur d’amagatotis and Tòtem ordre, constitute an extraordinary aesthetic response to a contemporary situation of permanent crisis. This crisis has many names: among others, global war, the dismantling of the modern state, climate breakdown, the precarization of labor or the full commodification of social and mental life. Garcia Elena’s poetry assembles singular objects that lack most of the recognizable components of the genre. The poems have no specific themes, no identifiable subjective voices and no regular formal conventions. Yet these absences do not result from modern encounters with the sublime, the unspeakable or otherness – elements that we still find in two of Garcia Elena’s possible precedents from the Catalan tradition, Carles Hac Mor and Carles Camps Mundó. Instead, his poems appear as immanent modulations of words that playfully portray a voice talking to itself about the perplexity of living in a world of groundlessness and disorder. I propose to read this voice in relation to two historical phenomena: the consolidation of globalization as a perpetual present of generalized violence and the chronic condition of the Catalan desire for freedom from the Spanish state. Garcia Elena’s ironic but combative, rational but magmatic, poems represent a fresh revitalization of the aesthetic experience in a seemingly postapocalyptic world. They provide a stimulating opportunity to examine the link between aesthetics and politics in the global present.

摘要

Albert Garcia Elena 2017 年的两本诗集Silur d'amagatotis和Tòtem ordre，构成对当代永久危机局势的非凡审美回应。这场危机有很多名称：全球战争、现代国家的瓦解、气候崩溃、劳动力的不稳定或社会和精神生活的完全商品化。加西亚·埃琳娜 (Garcia Elena) 的诗歌汇集了缺乏该体裁中大部分可识别成分的奇异对象。这些诗没有特定的主题，没有可识别的主观声音，也没有固定的正式惯例。然而，这些缺席并不是因为现代与崇高、不可言说或他者的相遇——我们仍然在加西亚埃琳娜的两个加泰罗尼亚传统可能的先例中发现的元素，卡尔斯哈克莫尔和卡尔斯坎普斯蒙多。反而，他的诗似乎是语言的内在变调，戏谑地描绘了一个声音在自言自语，讲述生活在一个毫无根据和混乱的世界中的困惑。我建议将这种声音与两个历史现象联系起来：全球化的巩固是普遍暴力的永久存在，以及加泰罗尼亚人渴望摆脱西班牙国家的长期状态。加西亚·埃琳娜 (Garcia Elena) 的讽刺但好斗、理性但岩浆般的诗歌代表了在一个看似后世界末日的世界中审美体验的新复兴。它们提供了一个令人振奋的机会，可以检查当今全球美学与政治之间的联系。全球化的巩固是普遍暴力的永久存在以及加泰罗尼亚人渴望摆脱西班牙国家的长期状态。加西亚·埃琳娜 (Garcia Elena) 的讽刺但好斗、理性但岩浆般的诗歌代表了在一个看似后世界末日的世界中审美体验的新复兴。它们提供了一个令人振奋的机会，可以检查当今全球美学与政治之间的联系。全球化的巩固是普遍暴力的永久存在以及加泰罗尼亚人渴望摆脱西班牙国家的长期状态。加西亚·埃琳娜 (Garcia Elena) 的讽刺但好斗、理性但岩浆般的诗歌代表了在一个看似后世界末日的世界中审美体验的新复兴。它们提供了一个令人振奋的机会，可以检查当今全球美学与政治之间的联系。