The Guiniguada Theater and the Casa de Colón were yesterday the stages in which different voices claimed the importance of bringing Natalia Sosa Ayala to the forefront and the resistance poetry that she practiced against the current in the Franco years.
He was recalled by the president of the regional government, Ángel Victor Torres, at the institutional event last night in Guiniguada, along with institutional representatives, relatives of Natalia Sosa Ayala, and different specialists in the writer. “The word is the only thing that is worth to us to defend ideas,” Torres said after mentioning the anniversary of the failed 23-F and parliamentary dynamics in recent days. A word that serves to express feelings and shed light on what was hidden for a while ”, in clear reference to the writer.
“A woman who was ahead of her time”, according to President Ángel Víctor Torres
Torres emphasized the convenience of recovering the Gran Canaria author, “who wrote her first work at the age of 17, that we can recover her most recent and posthumous work” with the edition of I am exodus and arrival (2021). In short, “a woman who was ahead of her time, who expressed her feelings through writing, one of the great names in 20th century Canarian literature. His work remains, we are going to remember it and enjoy it through his words ”, concluded the president.
Natalia Sosa Ayala’s work covers all literary genres, although poetry was where she found meaning in writing. His is a work full of metaphors and symbolism “a coded language to tell what could not be spoken and invites the public to decipher it,” explained Blanca Hernández Quintana yesterday. He said it at the Casa de Colón, in the presentation of the book I am exodus and arrival (2021), together with Marta Porpetta, director of Editorial Torremozas, which brings together the mature work of Natalia Sosa Ayala; and he signed it again at the Guiniguada Theater, at the opening of the institutional act.
Blanca Hernández is responsible for the edition of I am exodus and arrival, with which she accentuates the visibility and promotion of the leading author of the Canary Islands Day of Letters 2021, in which the regional government participates and which comes to complete the set of her Poetic production after this Madrid label published No soy Natalia (2018), which brings together the poems published in the magazine Mujeres en la isla between 1957, and the books Girl without a name and other poems and Self-portrait. This book presents the poetic work from the nineties, which includes December (1992), the third chapter of When the afternoon is shadow (1999), which includes poems written from 1996 to 1997, and the collection of poems posthumous The poems of a stateless woman (2003).
The condition of woman and lesbian is decisive to know the literary forms of Sosa Ayala. This is how Blanca Hernández remembered yesterday. “Sexual orientation is intertwining his entire identity and what his poetic writing is, because literary works echo life experiences.”
It was Hernández who brought Natalia Sosa’s verse to the Torremozas publishing house. Director Marta Porpetta pointed out that this label specialized in literature written by women has the objective of recovering forgotten authors of all times, including Natalia Sosa. Torremozas has published authors from the Islands such as Elsa López, Pino Ojeda, Tina Suárez, Mercedes Pinto, Josefina de la Torre, writers that “you have to get them out of here, it is very necessary that they know each other.”
Blanca Hernández highlights the use of “encrypted language to tell what could not be”
In 2017 they proposed to edit Pino Ojeda and he met Blanca Hernández. It was she who told him about Natalia. “For me it was a revelation, I was absolutely fascinated by Natalia, I said I needed this author,” Porpetta stressed. In 2018, No soy Natalia was published, the first period of her poetry until the 80s, and as she said, “many people have discovered it”. In his opinion, and so he expressed in the different forums in which he participated yesterday, dedicating the Day of Letters to him “is a brave bet, because the important thing is to recognize the authors who have been in the shadows like Natalia Sosa Ayala.”
Reading and theater
The voice of the poet resounded in the Casa de Colón and in the Guiniguada Theater. Yesterday, and in memory of the protagonist, there was a reading of significant texts from that stage of maturity that involves I am exodus and arrival in the Colombian museum. And an institutional act, where in addition to the word, the representation of a fragment of the theatrical work entitled Soy Natalia, based on the story Bajo los pinos and the epilogue of The poems of a stateless woman, with direction and dramaturgy by Arima León , and played last night by the actress María Sabaté in Guiniguada; an audiovisual piece also signed by Arima León and which is part of a project in development that will culminate in a documentary dedicated to the figure of Natalia Sosa Ayala in which Antonio Becerra Bolaños, professor at the ULPGC, participates; and the voice of Paula Vega, poet and singer, who made music a text by Natalia Sosa dedicated to Pino Ojeda, also in Guiniguada.
Antonio Becerra, who participated last night in the institutional act on behalf of the family of the honored writer, said that celebrating her work is extending it to so many other voices of Canarian letters and art in general. And that, although the definition of a woman who had multiple fronts against her and who had refuge in writing is accurate, poetry in the case of Natalia Sosa Ayala, more than a fighting weapon, was the best way she had to communicate .
The editorial rescue of Natalia Sosa goes beyond the events held yesterday and the edition of I am exodus and arrival. The Minister of Education, Universities, Culture and Sports, Manuela de Armas, announced yesterday at the Guiniguada Theater that various initiatives have been organized around her figure and production throughout the year.
“Claim it, enjoy it and spread it”
Becoming the voice of the marginalized and defenseless demanding equality in the face of social structures that discriminate against them is a goal that Natalia Sosa Ayala has finally achieved, two decades after her death, who barely managed to publish in life and died cornered, in to a great extent, because of her condition as a woman and lesbian, according to the testimony of young authors from the islands. the new authors. Yesterday, the Guiniguada theater brought together Aida Rossi, Yeray Barroso, Paula Vega García, with the title Natalia Sosa Ayala and the young artistic voices of the Canary Islands, in a meeting moderated by Blanca Hernández Quintana. The literary legacy of Natalia Sosa Ayala (1938-2000) is a poetry composed of several volumes that, even, “it is important that it be republished”, in order to bring it closer to an audience for whom it is largely unknown, according to the author and journalist Aida Rossi. Rossi has admitted his relatively recent discovery of Natalia Sosa Ayala. For his part, Yeray Barroso has acknowledged that “he was late” to find out about that writer, “as we are late to what is outside the canon.” Faced with those limits that exclude many female writers “not because they lack quality”, but for reasons unrelated to literature, “we have to claim it, enjoy it and, above all, spread it.” For her part, Arima León, a scholar of the poet, has recounted that she was a “being, in part, uncomfortable, because she was always questioning”, from divine designs to the social “hypocrisy” to which she dedicated some of her rhymes. | Eph.
Nameless girl (excerpt)
My name is not Natalia.
I was never born.
Or if I was born it was dead.
The sun spread its first rays
by a fateful morning in March.
But I was not the one who drank his light.
I never existed.
Girl without a present (fragment)
I am a girl who has no present.
Towards the gray threshold of morning
to the big city
where are the men waiting for me.
The bus takes me.
Self-portrait 1981 (fragment)
To be able to go back, feel clean eyes,
resurrect, erase that impurity,
drown this pain
consume from the chest.
To be able to say, sorry, this perverse shadow,
the clouds, the memories.