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Nuria Ruiz de Viñaspre wins the XII edition of the César Simón Poetry Prize

Nuria Ruiz de Viñaspre. Photo: Félix Fradejas.

The César Simón Poetry Prize (Universitat de Valènca - Denes Editorial), coordinated by Begoña Pozo, celebrates its XII edition. This time, the jury, formed by Óscar Curieses, Mar Benegas, Antoni Gómez, Bibiana Collado and David Trashumante, met at the Cultural Centre La Nau of Valencia on 25th September 2015, and gave the award to the poems book titled ‘La zanja’ (‘The trench’), whose author is Nuria Ruiz de Viñaspre.

This work was awarded after a deliberation where the jury valued several books, including the finalists ‘Las célebres órdenes de la noche’ (‘The famous orders of the night’), ‘Avenida Ucrania’ (‘Ukraine Avenue’), ‘Los cauces del que teje’ (‘The course of whom knits’), ‘El ejército ha huido’ (‘The army has run away’) and ‘Un pájaro entre el resto’ (‘A bird among the rest’). 
Of a total of 85 poetry books presented, the jury gave the award to a book in which the poetic language is tied with the idea of a game and with the will of self-exploration through the ensemble of new textuality that break, twist or extend the body of the poems. 
It is a work that brings back in an intelligent and fortunate way the gesture of the historical avant-gardes, a very much appreciated attitude in these times of continuous but only apparent renewal. The reader is in front of a work that digs a poetic trench to create a set of risk, language play, with visual, broken, repetitive, sound, elemental or dense poems, getting this feeling of entering in the subsoil, to go back to the essential, of having your hands covered with words.
Hence, this is a book in which you trip to fall and being dragged in the linguistic loop, in the hole of what is poetic and vital: word and language. For all this, the jury has considered that ‘La zanja’ is a daring book whose poetics looks for breaking the language with cheekiness, by building a disturbing and visceral poetics, intimate and expansive. A poetry book that shows the cables, the circuits, without an elegant casing to cover it. A fight process with the words, from whose torsion great findings and a broken emotion that impregnates its pages in an attempt to escape from what the poem was until then are discovered. Ultimately, a risky book, with a great formal rigour, presented as a closed piece where aspects such as the fragmentation, the irony and the experimentation are decisive. 
This XII edition adds to the poets payroll the voice of Nuria Ruiz de Viñaspre (Logroño, 1969), author who –since she published in 1999 ‘El mar de los suicidas’ (Huerga y Fierro)– gave to the printing works as ‘Ahora que el amor se instala’ (CELYA, 2004); ‘El pez místico’ (Olifante, 2009); ‘Tablas de carnicero’ (Luces de Gálibo, 2010); ‘Órbita cementerio’ (Luces de Gálibo, 2011); ‘Tabula rasa’ (La Garúa, 2013) and ‘Pensatorium’ (La Garúa, 2014). 
She has also collaborated in joint books as ‘La cité des Dames’ (Licanus, 2013); ‘Temblor del lenguaje: Fleur Jaeggy’ (Shangrila Ediciones, 2014) or ‘Marguerite Duras: movimientos del deseo’ (Shangrila Ediciones, 2014). 
Part of her pieces, translated to several languages, may be found in some anthology of critical poetry, as the recent ‘Poesía de la conciencia crítica’ (Tierradenadie Ediciones, 2013); ‘En legítima defensa’ (Bartleby Ediciones, 2014) or ‘Disidentes. Antología de poetas críticos españoles (1990-2014)’ (La oveja roja, 2015). 


Last update: 30 de september de 2015 07:00.

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