Don't believe the day brings into play vital cycles and temporal logics marked by trauma and pleasure; it mobilizes surreal strategies to activate and address processes of defamiliarization and incommunicability; and it looks into the possibility of preservation in contexts of crisis in which the relationship between the intimate and the social and political structures that determine and oppress it, are on the verge of collapse. / Faced with the AIDS crisis and sick, PEPE ESPALIÚ wrote “Sleep, friend, sleep, / to avoid seeing how “little death”/ dances with God on my fingertips; (...) Sleep, / Don't believe the day, / Sleep ”, generating a tension between the need to suspend for a short period of time a reality marked by violence and death, and the commitment to unfold an imaginary to generate self-sustenance through pleasure and a particular reworking of generic and sacred value systems. / In BRI WILLIAMS’ images and poems there is an exhausting desire to face a reality stolen by the transactions of the oppressor. A constant state of alert is generated –with latches and shoulders that jump– in which the intimate is a disturbing and gloomy space where Williams also injects tenderness. / GABRIEL OJEDA-SAGUÉ immerses himself in the years lived and those that remain to be lived with temporary leaps in which he grabs (and releases fluidly after a few verses) physical changes, different skills and pleasures, mental and health states. In Ojeda Sagué’s poems, the sensory overstimulation of the everyday dislocates the flatness of the temporal axis, that which usually goes unnoticed swells in a process of de-automation of the present that we also find in the contributions of Espaliú and Williams.

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