Ricardo Pérez-Salamero García con TransHumancias
(Sp.) En su primera edición, el libro recorría un periplo de viajes y quietismos que iba del 2002 al 2009. Ese "caminante se hace camino al andar" ha llegado hasta el 2016 en esta nueva edición con Kindle. El paso, la forma de andar este TransHumancias, no ha variado: en cada lugar y tiempo, con cada persona y paisaje, la mirada del autor dibuja su tela y la atraviesa sin olvidar su caballete, sus pinceles, sus colores.
Eng.: The book, as the author says in its synopsis, "scours a journey of travels and quietisms that goes from 2002 to 2009. In every place and time, with each person and landscape, the author's look draws his canvas and crosses it without forgetting his easel, his brushes, his colors".
Notebook in hand, the poet has been, canvas after canvas, painting the landscapes and the people, the small events he has observed at each site. The poems do not denote eager for a journal, as opposed to Cuando Turquía where, specifically, the author went writing down, with a radically different technique, his own movement in those lands. Now, in Transhumancias, the poet tries to fix the picture, continuing with the simile, in oil and not in watercolor of firm brushstroke but rapid leaving room for the aquatic movement in painting. Now he builts from the premix of denser colors, previously designed in his head for a more static composition even if what he describes is seen in motion.
The poet has in these milestones on the road different traveling companions that appear and disappear from the paper but, largely, made up his look and served as a personal reference point from which to transform those glances into words. The poems include locations in Holland, Belgium, France and Spain situated chronologically throughout the book, and it can be said now, from a certain perspective, that many of the poems contain a visionary pinch announcing future events in the author's evolution (the sight of a billy goat in some mountains of Jaen, for example, was quite an epiphany).