Bartomeu Fiol

No ens mourem d’aquí

Language: catalan

Translations: english (We shall not move from here), german (Wir ziehen hier nicht weg)

No ens mourem d’aquí

De aquí no se va nadie.
LEON FELIPE

No ens mourem d’aquí –tu ho saps ben cert-,
a aquesta riba atansats, abocats a la ventada,
als nords de la pluja i als silencis de l’asfíxia
-tossuts, tossuts, tossuts,
arrruixats, sorruts i llords
i tot el que vulgueu-,
sense un ben establert salconduit
amb molts pesants segells, regalimosos,
on, amb claredats de sang, estigui escrita
tota la veritat, lletra per lletra.

Bartomeu Fiol

photo © private

* 12.11.1933, Palma, Spain
† 08.08.2011, Spain

Bartomeu Fiol (1933) has a degree in Political Science. He has worked in the hotel and catering business, as a bookseller and cultural promoter. He was president of the cultural association Obra Cultural Balear (1990 – 1992), and has published numerous opinion pieces in the press.

His poetry has figured prominently on the Catalan poetry scene in the Balearic Islands since the publication of his first book Calaloscans (Dogcove, 1966).

photo © private

A disciple of Blai Bonet and Bartomeu Rosselló-Pòrcel, he was a member of Llorenç Villalonga’s literary circle that met in the Cafè Riskal in Palma in the 1950s, although he is essentially a solitary poet who has developed his work outside the aesthetic trends of the day.

In 1999, he published the anthology Tot jo és una exageració (Quaranta-nou textos orals perifèrics) [I Am All Exaggeration (Forty-nine Peripheral Oral Texts)], and began to assemble his complete poetic oeuvre in Camps de marina i suburbials:

obra poètica 1 (Marine and Suburban Fields: Poetic Work 1, 2000),

Cròniques bàrbares: obra poètica 2 (Barbarian Chronicles: Poetic Work 2, 1999) and Canalla lluny de Grècia: obra poètica 3 (Scoundrel Far from Greece: Poetic Work 3, 2001).

“For Fiol, the limits are in literature itself, and syntagmas and their sequence do not ever make us have a dream or figure out a request that is so effective that it makes the Madonnas or angels act, recurring pretexts of an incomplete hope. In the limits, however, he defends the inscrutable, notwithstanding the difficulty of combat. The lethargy for the difficulties of language is expressed in the parody and humour of some Baroque-like plays on language, ever on the border of modernity and the vast legacy of tradition.” Susanna Rafart

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