"A woman does not know how to look. Sees only dreams. "Regardless of the interpretations which may arise from this expression by Julio Cortazar, heading in the first part of the poetry book House of Sleep (IMAC / Gíglico Editions, 2006), seems applicable to a particular woman: Elizabeth Cazessús, born August 28, 1960, in Tijuana, Baja California, where his family was, by her own account, like so many working class families to join the millions who have established a tradition of migrants. They chose, however, stay on this side, near the sea, where his father practiced the profession of telegraph operator. Marine vein poet, Elizabeth unfolds in the territory of sleep like a panther in the jungle, alert to danger, risk prone but others fear: "(...) I write what the fish dream / while rinse in this room / shapes of silence and light "(" Seas the Dream "Dream House, p. 14). The dreamlike quality the poetry of Elizabeth can be explained by the fact that her "dream" poems, the voice of his subconscious dictates as to the ancient poets and verses are repeated insistence that whisper from his lips, which many sometimes has no choice but to get up and write. The biggest risk of the dream is awakening. But Elizabeth gets to catch the dream, remove it from the unconscious and capture it like a fish to the net: useless and curb this river of dreams filled with fish.
Morena and delicate, Elizabeth is projected on the girl of his poem "More on the death of Major Sabines, whose reading is constantly interrupted by his father ... that parent will end blaming his mother for "madness" of his daughter, which the fledgling poet orillaría to burn the papers considered guilty of this dispute, "I agreed with the death devoured by poetry / Ella Creek my bones / It has been staying with me stop to stop / It has opened my eyes / Quiet, play with my life / re-emergence as an underground roar of passion / Light with its magic of living in the Honduras / Heart. "(House ..., p. 53). "Poetry, tells the poet, rises in me as a source of the dark and inexplicable. After about 10 or 11 years meditating in the staircase leading to the garden, accompanied by a small where he wrote and made drawings. I was wondering who am I? And I came to write I'm a surprise in the window picking words and silence ... I myself do not quite understand it but it caused an unusual joy. It occurred to me to find my mother in the ironing room and showed him what he had just written. She stared at me in a dubious manner, surprised and distressed, as though something in me threaten its security. The incredulity of my mother shaped my attitude to writing, I kept writing just for me, with a certain timidity and shame. "At school, Elizabeth was soon to become the ambivalent reputation of" talking pretty "and" crazy " , but managed to successfully switch to writing bolibol illegal and excel in both fields.
Although personally is a sweetness that one breaks it, his poetry conveys the silent fury of a wave. Their fragility devastating crashes in words that weave eroticism and pain, without demarcation possible. Claiming that it is beyond mere metaphor waves: the syncopated swing invariably referred to us, sometimes sweet, other ... almost always terrible, terrible sweet. Author of four books of poetry, ritual and song (1994), Woman of Salt (2000), Footprints in the Water (2001) and House of Dreams, Elizabeth is known for its performances of poetry, simply beautiful, not However nourished by its own letter that turns into crushing wave to take possession of the author under floodlights. But much more than their own verses actress, becomes a priestess of the verse when taken by assault the stage. The poetic voice of Elizabeth Cazessús is not, in fact, only one: a chorus of female voices, sirens skein rather than describe, symbolize the profound essence of femininity. Like when, a priestess of Inanna, the first poet on earth, origin of all poetry and all apple, crying: "We played with lyrics cal / to see her in the water revived, / pieces of a lost country, / lakes and ponds / that fed the absence of rain, / calligraphy White costs (...) "(" The Dream "Footprints in the water, IMAC):" After 3 am, the poet continues salty eyes, and handed in my dreams started workshops which would be my first formal poems. Obviously I kept doing it in a hidden way because I was afraid that judge me crazy. I felt a certain inability to reason coherently and this represented a great mystery with sketches of magic to my life in general. My intuition is the voice and came back again the poetry and could not stop the flood of words that stuck out like tumult of peaceful sleep. "
Women. Water. Poetry. Genesis. The life of the water, she is water and the poetry, the work of water and women, Inana, Eva ("Lilith?). The woman, Elizabeth seems to say, is a being that comes from water and water again, again and again. Irremediable destiny. It is no coincidence that Venus emerging from the sea foam is Western icon of femininity. The poet, then, refers to the symbolic aspects, rather than the mythological women as the source and memory in the world. His writing of the ancient legacy passed down from daughter to daughter: "Someday I'll be born a fish in water / In case you do not find me (...)" ("Mirror of salt", home ..., p. 18). Elizabeth
viewed the sea as a huge female fish Birth "stubborn. The sea, female, female rage of loneliness that sweeps the salt of the universe to heal the primal wound. The look, says Elizabeth in a poem, is the breakdown of the water bed, and as the sea, the poet is aware that the answers to your questions is silence. So, back synchronous siren, goes to the words of silence, which incites them to: "Look one, words are mirrors ..." ("Do not ask for tomorrow to love", p. 47). The sea has a language that the poet explicit questions clearly and yet seeks to answer, indeed, the more complex: "The hungry fish swarm / Reinvent universe / of a sea that is treasured among the letters "(" Rooms ", home ..., p. 23). That language prompts mean salt whispers will inevitably go back to that other woman with the deformed face of doubts that never managed to verbalize: "The city of salt" / "in the desert to Timbuktu," / destitute and abandoned / like Lot's wife / is your echo in the breeze / that clears. "(Woman of Salt, Editorial Rise of the Muse, no. 5, p. 37).
The best way to stop silent, that is not equal to break the silence (silence is part of our nature water), is to break in waves, says the poet ... writing, the act that makes them cousins \u200b\u200bdelivery to women and the sea. In the poetry of Elizabeth Cazessús the act of writing is intimately connected with childbirth and motherhood, as in "Three times three," poem national contest winner Anita Trujillo Pompa 1993, included in House of sleep. Both experiences, write and give birth, are the fruit of joy and pain triggers, but again the border between Eros and Thanatos is blurred as a poem written in the sand, doomed to be swallowed by the sea, oblivion of water. Motherhood, in the poetry of Elizabeth, is a rediscovery of the body, generating amazement, ergo, writing: "Liquid mineral deluge of letters / fire operator on the foliage of the apple / Eve whom we inherited the logos of silence (...) "(p. 45). Writing is breaking the clerk with the world, physical manifestation of not wanting to be. Labor is also split, break, cry and silence. Motherhood is represented here as a ritual is concerned solely with the mother and daughter, which insulates them from the rest of mortals, the center of the universe becomes, in a contemplative silence permeated the intimate language: "(...) And the eyes of a girl looking at me / Like the faun to his mother / From the depths of their bodies coral latent / Mineral / Plant / People / In the embrace of sustainable water / Two bodies cohabiting the glittering desert / universe. "(p. 41).
absorbed in the dictates of the sea, completely foreign to the worldly bustle, to the avatars of the avant-garde technology and imposts, Elizabeth Cazessús becomes his own room. Well Gabriel Trujillo said that, rather than a poet, an artisan of the gods who look at the body's own mapping joyful footsteps of his itinerary: "There is nothing ambiguous in his poetry. And is that Cazessús recognizes that writing is a bet that no one emerges unscathed dela. "Elizabeth's work has been included in anthologies Across the Line (Junction Press, 2003) and the trilogy of English poets, sly, mystical and rebel (2004). He lives in his native Tijuana, a mother of two teenage children, is dedicated to cultural journalism and its visual poetry: "In general I think the poets of the North (Baja California specifically) have emerged as the (non-prophets) poets desert, within a reality determined by geography and as a metaphor given by the irony of life, as we have done alone without any regional tradition and away from the merits of the literary tradition of south-central Mexico. Add to this the issues of gender, compared to the status of women, and the division of antagonistic cultural groups in the state of BC In Tijuana no school of humanities to the late eighties etc. Given this has not been stronger if indifference, orphanage or denial. "
Morena and delicate, Elizabeth is projected on the girl of his poem "More on the death of Major Sabines, whose reading is constantly interrupted by his father ... that parent will end blaming his mother for "madness" of his daughter, which the fledgling poet orillaría to burn the papers considered guilty of this dispute, "I agreed with the death devoured by poetry / Ella Creek my bones / It has been staying with me stop to stop / It has opened my eyes / Quiet, play with my life / re-emergence as an underground roar of passion / Light with its magic of living in the Honduras / Heart. "(House ..., p. 53). "Poetry, tells the poet, rises in me as a source of the dark and inexplicable. After about 10 or 11 years meditating in the staircase leading to the garden, accompanied by a small where he wrote and made drawings. I was wondering who am I? And I came to write I'm a surprise in the window picking words and silence ... I myself do not quite understand it but it caused an unusual joy. It occurred to me to find my mother in the ironing room and showed him what he had just written. She stared at me in a dubious manner, surprised and distressed, as though something in me threaten its security. The incredulity of my mother shaped my attitude to writing, I kept writing just for me, with a certain timidity and shame. "At school, Elizabeth was soon to become the ambivalent reputation of" talking pretty "and" crazy " , but managed to successfully switch to writing bolibol illegal and excel in both fields.
Although personally is a sweetness that one breaks it, his poetry conveys the silent fury of a wave. Their fragility devastating crashes in words that weave eroticism and pain, without demarcation possible. Claiming that it is beyond mere metaphor waves: the syncopated swing invariably referred to us, sometimes sweet, other ... almost always terrible, terrible sweet. Author of four books of poetry, ritual and song (1994), Woman of Salt (2000), Footprints in the Water (2001) and House of Dreams, Elizabeth is known for its performances of poetry, simply beautiful, not However nourished by its own letter that turns into crushing wave to take possession of the author under floodlights. But much more than their own verses actress, becomes a priestess of the verse when taken by assault the stage. The poetic voice of Elizabeth Cazessús is not, in fact, only one: a chorus of female voices, sirens skein rather than describe, symbolize the profound essence of femininity. Like when, a priestess of Inanna, the first poet on earth, origin of all poetry and all apple, crying: "We played with lyrics cal / to see her in the water revived, / pieces of a lost country, / lakes and ponds / that fed the absence of rain, / calligraphy White costs (...) "(" The Dream "Footprints in the water, IMAC):" After 3 am, the poet continues salty eyes, and handed in my dreams started workshops which would be my first formal poems. Obviously I kept doing it in a hidden way because I was afraid that judge me crazy. I felt a certain inability to reason coherently and this represented a great mystery with sketches of magic to my life in general. My intuition is the voice and came back again the poetry and could not stop the flood of words that stuck out like tumult of peaceful sleep. "
Women. Water. Poetry. Genesis. The life of the water, she is water and the poetry, the work of water and women, Inana, Eva ("Lilith?). The woman, Elizabeth seems to say, is a being that comes from water and water again, again and again. Irremediable destiny. It is no coincidence that Venus emerging from the sea foam is Western icon of femininity. The poet, then, refers to the symbolic aspects, rather than the mythological women as the source and memory in the world. His writing of the ancient legacy passed down from daughter to daughter: "Someday I'll be born a fish in water / In case you do not find me (...)" ("Mirror of salt", home ..., p. 18). Elizabeth
viewed the sea as a huge female fish Birth "stubborn. The sea, female, female rage of loneliness that sweeps the salt of the universe to heal the primal wound. The look, says Elizabeth in a poem, is the breakdown of the water bed, and as the sea, the poet is aware that the answers to your questions is silence. So, back synchronous siren, goes to the words of silence, which incites them to: "Look one, words are mirrors ..." ("Do not ask for tomorrow to love", p. 47). The sea has a language that the poet explicit questions clearly and yet seeks to answer, indeed, the more complex: "The hungry fish swarm / Reinvent universe / of a sea that is treasured among the letters "(" Rooms ", home ..., p. 23). That language prompts mean salt whispers will inevitably go back to that other woman with the deformed face of doubts that never managed to verbalize: "The city of salt" / "in the desert to Timbuktu," / destitute and abandoned / like Lot's wife / is your echo in the breeze / that clears. "(Woman of Salt, Editorial Rise of the Muse, no. 5, p. 37).
The best way to stop silent, that is not equal to break the silence (silence is part of our nature water), is to break in waves, says the poet ... writing, the act that makes them cousins \u200b\u200bdelivery to women and the sea. In the poetry of Elizabeth Cazessús the act of writing is intimately connected with childbirth and motherhood, as in "Three times three," poem national contest winner Anita Trujillo Pompa 1993, included in House of sleep. Both experiences, write and give birth, are the fruit of joy and pain triggers, but again the border between Eros and Thanatos is blurred as a poem written in the sand, doomed to be swallowed by the sea, oblivion of water. Motherhood, in the poetry of Elizabeth, is a rediscovery of the body, generating amazement, ergo, writing: "Liquid mineral deluge of letters / fire operator on the foliage of the apple / Eve whom we inherited the logos of silence (...) "(p. 45). Writing is breaking the clerk with the world, physical manifestation of not wanting to be. Labor is also split, break, cry and silence. Motherhood is represented here as a ritual is concerned solely with the mother and daughter, which insulates them from the rest of mortals, the center of the universe becomes, in a contemplative silence permeated the intimate language: "(...) And the eyes of a girl looking at me / Like the faun to his mother / From the depths of their bodies coral latent / Mineral / Plant / People / In the embrace of sustainable water / Two bodies cohabiting the glittering desert / universe. "(p. 41).
absorbed in the dictates of the sea, completely foreign to the worldly bustle, to the avatars of the avant-garde technology and imposts, Elizabeth Cazessús becomes his own room. Well Gabriel Trujillo said that, rather than a poet, an artisan of the gods who look at the body's own mapping joyful footsteps of his itinerary: "There is nothing ambiguous in his poetry. And is that Cazessús recognizes that writing is a bet that no one emerges unscathed dela. "Elizabeth's work has been included in anthologies Across the Line (Junction Press, 2003) and the trilogy of English poets, sly, mystical and rebel (2004). He lives in his native Tijuana, a mother of two teenage children, is dedicated to cultural journalism and its visual poetry: "In general I think the poets of the North (Baja California specifically) have emerged as the (non-prophets) poets desert, within a reality determined by geography and as a metaphor given by the irony of life, as we have done alone without any regional tradition and away from the merits of the literary tradition of south-central Mexico. Add to this the issues of gender, compared to the status of women, and the division of antagonistic cultural groups in the state of BC In Tijuana no school of humanities to the late eighties etc. Given this has not been stronger if indifference, orphanage or denial. "
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