They say the postcard corresponds to the mail, and some lucky ones will receive it in the hot months ahead. The first edition of Julen Apella Santamaría (Berriz, 1998) has come to us on the eve of the summer. A postcard in the desert (Balea Zuria, 2023) has been designated by the restored young poem, Donostia Kultura VI. Poetry Prize.

The postal, however, can be a dip that is a reality but distorts reality, a false promise of being innocent, a showcase in the eyes of the tourist, memory and desire, a moment unleashed by all others… The look between laces and shoes, awakeners, trains and rails, orbelas, fires, postcards quoted and others, and the distressing look of the sensations towards the Apego. In this sense, groups of seemingly opposite words are particularly noteworthy: “Moving is another way of being: stillness/constant dependence.”

Attention is also drawn to the awareness of the voice that has just been read with regard to voice, word and language in general. The poem Komunikazioa tells us, among other things, that simple words are worn out sounds, but also that they can be more than worn sounds: “Say and feel that in their simplicity words can be used to say the world / even if it is a thick brush / and in the void at least to build bridges / when they stay flat”. Perhaps we could understand in the same vein as Apellak It is not enough to make a kind of claim that defends the continuity of creation in the poem: the book is the attempt to say what they felt.

In fact, the book is also a tribute to creation and literature, since everything that has been mentioned so far is researched with an elegant metalworking exercise. Artistic references and reflections on writing are linear or explicit. Together with these travelers, Apellak has taken a firm step in his career with this collection, whether with shoes or bare feet.