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This September marks the 90th anniversary of his death Miyazawa Kenji (1896). Born in Hanamaki City in northern Honshu Island, he is considered one of the most important writers in Japanese literature. He was born into a wealthy family and had a keen interest in literature since childhood.Started publishing at the age of nineteen TankaThroughout his short life, he maintained his creative passion.

The publication of Satori Ediciones brings the reader closer to the suggestive universe of a luminous transcendental poem in which man is the reality surrounding his space and time. The claims of Japanese writers are supported by the following evidence: The Aristotelian spirit refers to the fact that nature does nothing in vain. Starting from this premise, his lyrical self is that of an intellectual soul, able to express itself through the desire to reason and better understand a world that cannot always be understood through experience.

Yumi Hoshino and David Carrion do a great job translating Kenji Miyazawa’s suggestive voice into Spanish. Furthermore, in their illuminating preface, they describe how the circumstances of their lives shaped what they did. After a long battle with tuberculosis, his beloved sister Toshiko died, leaving him in deep sorrow for the rest of his life. This collection of poems contains three poems he dedicated to her on the day of her death (November 27, 1922): “Oh, this little sister who will be far away from home today. / Do you really want to go alone? / Ask me to go with you/Tell me with your tears./And your cheeks are so beautiful today./I put fresh pine branches/on the green mosquito net/and immediately water drops will fall/from the sky.”

The first of his three books was published in 1924 under the title Primavera y asura, and was the only one he edited during his lifetime. The book was financed by himself and had a circulation of one thousand copies, but its impact was limited. However, despite this disappointment or poor health, Miyazawa’s devotion to his work did not cease. The harsh winters of his childhood hit him hard, and from 1927 until his death from pneumonia in 1933, the struggle for survival was frankly complicated: “My breathing grew shorter and shorter, / and now stopped completely; / and when it When I stopped, I felt short of breath (…) This was not good at all. / There was no time to say goodbye to anyone.

Kenji Miyazawa realized that his work transcended mere poetry. He himself defined them in an English term,mental sketch, As he admitted in a letter to his friend Mori Saichi in February 1925, “I write sketches of mental images at every moment and under the most diverse conditions.”

Ultimately, for Japanese writers, writing is about understanding and, at the same time, using one’s own wisdom to reveal the proper and universal nature of existence and the intimacy of one who is able to engage in dialogue between earth and heaven. : “I recorded the names of the gods within me/Now I feel cold and shivering.”

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