Hojas (T4 E38)

Hojas (T4 E38)

Coordinación: Verónica García
Producción: Biblioteca de Canarias, Bilenio PublicacionesGuion y realización: Daniel Martín Castellano y Juan Carlos SaavedraCon la participación de: Verónica García, Elizabeth LópezCon la colaboración de: Luli Martín, Laura Herrera, Orbe Díaz, Pedro Hernández, Iraya Pérez, María Saavedra


El sumario complero en:

https://nadacomounlibro.com

Episode Transcript

(00:00):
Nothing like a book. It isa podcast sponsored by the Canary Islands Library
of the Government of the Canary Islands, conducted by Juan Carlos Saavedra and Daniel
Martín. The leaves when falling nourishthe soil, the leaves of the window
leave loopholes for the light to announcea new day, a publication of photocopies.

(00:21):
They entertain some parishioners. After agame of dominoes a knife, slice
into the morning bread and brighten yourstomachs. One of these rests the wait
of the flock next year. Butabove all soy is the space where everything
that you are able to imagine anddescribe fits. We started a new episode

(00:53):
of nothing like a book by DaniHola Juan Carlos. How about today with
a theme, that is, thatcontextualize it with leaf leaves what we made
headline leaf. Yes, there aremany types of leaves, that of trees
and also those that we like toread a lot, the leaves of books.
My grandmother said the cuckoo leaf toslice bread also what kind of or

(01:14):
notice you that in that search forrelationship literature leaves. I came across an
interesting book called The Mildness of theLeaves, by a Tinerféño poet, Dionisio
Álvarez, who is even going totell us about the Hiko, a form
of Japanese poetry that has spread allover the planet and that' s why

(01:34):
we' re going to start withan interview with Dionisio who is going to
tell us about his book. Oneof the most important poetic references in which
the leaves are mentioned is, withouta doubt, the poem" fojas novas
" by Rosalía de Castro. Toher we are going to dedicate this space
on women and, moreover, wewarn with an initial surprise very beautiful,
because from our trunk we are goingto recover a literary magazine Alicio Lejas de

(02:00):
poesía, an initiative of Pino Jedathat placed between the thousand nine hundred and
fifty- two years. In athousand nine hundred and ninety- five to
our islands in the poetic vanguard ofthe entire state, because he not only
published poetry on a level with rasonance, worldwide, but also many canary poets.
One of the meanings of Leaf arethose newsletters that are published on a

(02:22):
regular basis. And we commented onthis because the first British writer who was
ordered by the Nobel Prize in Literature, Ruyat Kipling, wrote the book of
the Jungle, which then takes manyfilms. But curiously, the book was
not published as such at first,but as a series of publications that were
periodically published in some magazines, asit looks at the books that collect drawings

(02:46):
of leaves, the most interesting andcurious is the Boinic manuscript. No one
has managed to decipher it, butcuriously, drawings do appear. Like God
said many researchers are trying to figureout how many and we' re going
to put one of those theories.Well, you know that' s one
of my favorite sections of nothing likea book. Elisabel Lopez brings us a

(03:07):
new book, The Color Monster,Doctor of Emotions. In that space of
the books that come out, howto control that inner noise that sometimes torments
us, because we will have tolisten to it in the topic of the
femerica in this month of April,because I wanted to collect some curious stories

(03:29):
or traditions that come from Japan,that are related to the leaves and also
to the flowers, and that theseflowers and leaves, because they have a
great influence in Japanese literature, andnot only in the literature ben and but
also in the way of seeing life. I don' t know how many
Westerners we enjoy sitting in a parkto see in the truth, because look

(03:50):
at the children' s and youth' s literature in the space that we
dedicate to it within nothing like abook on our island of Samorondon, we
will do a reflection with different professionalsand compadres about it. How is that
first encounter and that contact of boysand girls, of babies with the soys
in a book. What' sgoing on at the time? And let
' s put in value the bookthe magic of reading aloud from Megan Cocks.

(04:14):
And I think that, as always, we will end up with a
poetry, with a poetry by theNicaraguan poet Rubén Darío, because we didn
' t pass the sheet and wentinto nothing with a book of April,
nothing like a book. We don' t like traveling alone. So,

(04:36):
on today' s journey we areaccompanied by DionisioÁlvarez, a welcome poet,
to nothing like a book. Goodafternoon, welcome. Thank you first
of all for interviewing me. Iwould like to start by asking you how
many poems or how many poems youhave already published so far, for to

(04:56):
date I have five books published,two of them of long poetry How are
a raguel dream of the two thousandsixteen and the lagoon of the thousand gazes
of the two thousand eighteen. Andthe remaining three dedicated to the hiccup world.
The first sings the water two thousandnineteen, the second the Levadity of
the leaves two thousand twenty- twoand the third the ascues of light two

(05:16):
thousand twenty- three. Interestingly,our podcast this month is dedicated to the
relationship of what leaves are with literature. That' s why I' d
like to go a little deeper intothe fact that you just mentioned the mildness
of the leaves. What a reasonit led you to brand it that way,
because when I published my first bookof Hicus, Sing the Water,
I realized that I had treated thefour seasons of the year. That decanted

(05:41):
me to dedicate this book exclusively toa single season and I decided to do
it about autumn And why autumn,among other reasons, because it is a
season where the color predominates, thevariety of shades that can be contemplated,
the fall of the leaves, whichinvolves the passage of time, the final
trance of a ripening. The differentstates of mind that are experienced at this

(06:04):
time of year, a state forthe moment where a curve of melancholy is
inoculated, as I would say toHungaretti. They are moments where the tinting
of the rain, the smell ofearth, the impotence in the face of
the gravity of the leaves is missed. It comes to mind, the lukewarmness

(06:24):
of those evenings illuminated by a sunsetrose, where the sun begins to decline
with its light and where the cypressesthemselves shed their unique perfume to eternity is
curious. As I do not knowin a first approach, it seems that
spring lends itself more to poetry bythe subject than it means. Pro I
see that you have also found thatinspiration in autumn, many meanings in autumn.

(06:46):
Yes, before you also commented thatyou have written several books based on
the Haic, which is quite linkedto Japanese culture. In case any of
our listeners do not know this literarystyle well, you could give us a
brief review that consists of a haic. Well, the ico style consists of
a stanza of seventeen Japanese syllables,susceptible to a variable metric scheme. Instead

(07:12):
of five or seven five syllables.One could choose to increase or decrease them,
but prior to the metric option,we would have to take into account
the dens. That term refers towhen we feel an emotion, an impression
or kind of a flash that leadsus to write such a feeling about any
aspect of nature or everyday life,working the five senses to the extent possible.

(07:38):
In the second term would be thekigo, which also alludes to the
season you are treating well, beit spring, summer, autumn or winter,
as Master Maxo Baso would say thatit is a high hoo, that
the HIGPE is simply what is happeningin this place right now. It is
difficult to write with such strict measures. Look personally I had Santa last night

(08:01):
and I don' t find itcomplicated, as I try or try to
set the rules to compose a highhoo. However, it is necessary to
exercise the technique a lot, butwithout losing the ability to observe and,
above all, to try to reflectwith truth the emotion perceived according to a
nyxura outside of the truth does notexist. Hicho and his book entitled Vicente

(08:22):
Haya' sware specifies that if whatyou feel is that if a human being
feels it in nature is real,if what he feels is real, it
must be shared. Finally, Iwould say that Professor Fernando Rodríguez Izquierdo,
when speaking of writing hycohog in Spanish, recalls that every poet of Haiku,

(08:43):
in imitation of the Japanese, mustdeeply love the natural beauties of his own
country, assimilate them and sing themwith great local flavor. That' s
where much of my effort lies intrying to get a good hit. Listening
to your words, it seems likethe jicus is written at the moment that
you are enjoying that discouragement to thebest of relationship with nature, or you

(09:05):
are also picking up those moments andwhen you come home, you write them,
that is, they arise at themoment or it also takes a job
to sit down and remember what youhave lived through the days more things,
but to me personally on the goand above all it is curious because the

(09:26):
composition of the icu as I feelit, they remain like this even practically
with the metric itself and if thenit did not adapt or pass me much
in the metric, because I ammuch more of a five or seven five,
because I would try to look forthe most concrete words that suit that
hiccup. For example, until tomorrowI went for a walk before going to

(09:46):
lunch and did a hicooo. Thiswas at twelve forty- five. It
will be more accurate in the fencenear the acacias cela the sparrow. I
found a barbed wire with a lotof here and there was the sparrow over
there trying to keep a close eyeon us, like looking at us,

(10:07):
like being focused on us. Andit occurred to me. This one came
out on the march five or sevenfive. How curious we are here in
the Canary Islands talking about the hico, a literary style born in Japan.
Why do you think he likes itso much outside of the environment where the
elaic was born so much, sinceyou might initially think that because of its

(10:28):
simplicity, it does not simplify themere fact of being innovative or maybe that
acquired a concept of tendency could leadus to that conclusion. But we must
bear in mind that already at thetime of the poets José Juan Tablada,
the Mexican frend Rebolledo was the oneswho spread the knowledge of Hiko in Spanish

(10:48):
- speaking countries, as well asJapan, and throughout Europe let us take
the world of German, English andnon- French poets and writers for granted.
The highcu has always been sailing throughthe oceans of people who formed parts
of movement that integrated both the modernists, the imaginaryists or the symbolists. Antonio
Marchado drank from his sources when hewas in France. In Spain, he

(11:13):
was well received by Juan Ramón,Jiménez Lorca, etc. It should be
borne in mind that interest in thispoetic genre is increasing every time. We
' re in a time I don' t know about speed in a slightly
strange world. You tell me todayhow you walk and you come up.
A Jico has room for poetry inthe world in which we live today.

(11:35):
As Gabriel Celaya said, poetry isa weapon loaded with the future. It
will always be in each of usthe Oteros. He asks for the word,
the peace and the word and demandsto the bard that poet of the
ancient Celts to address the people andto transmit it, since thought that they
lead in reason, feeling and demandis the most necessary at the moment.

(11:58):
What has a name in heaven andon earth are acts we need poetry,
because, as Alejandra Pizarni would sayto heal the wounds, tear it apart,
because we are all, deep down, wounded. It' s free
of that which drew young people sothat they wouldn' t be sad,

(12:18):
as there is nature, freedom,that silver septir flowers, insects, etcetera.
And to conclude, because in ouradmired Agustín Millares, in your poem
I tell you or that it isnot worth asking everyone saying I return to
the charge and I tell you heredo not end up putting your head under
the wing saying I did not know. I' m on the sidelines,
I live in my tower alone andI don' t know anything. I

(12:39):
tell you and I repeat that itis not worth precious poetry, and it
is also a precious reminder that poetrycontinues to live. Someone who is listening
to us and would like to knowyour work, the poetic work of Venezo
Alvarez. How I could access yourbooks, because look at me for the
moment I only have the books intwo in two, Bookstore In La Laguna,

(13:01):
in the bookshop Lemus and in thebookshop ElÁguila, and I also
have some copies at home. It' s the only way I can contact
someone if you' re interested orI could provide you with any copy.
You have social networks where people cancontact you. You have some network presence,
specific Facebook, Instagram. I havenothing and how I could locate you

(13:26):
Through the editorial, for example,through the tutorial or even by calling,
for example, Lemus or the Eagle, you could contact me. I think
so to you all of a sudden. I don' t know. I
think it' s interesting the peoplewho are listening to us who are interested
in knowing your work going to thosetwo bookstores that surely already the vast majority

(13:48):
have a mail delivery service of thework. In case, for example,
there was a lack of copies,or they would have already finished, because
they contact me and I can providethem with what in reality is already left,
since UnisioÁlvarez. Thank you somuch for having been with us in
nothing as cool, as a bookand inviting what they hear to know your

(14:09):
poetry and, above all, thatpretty incursion. I believe in the Japanese
hiko with many thanks for your invitationand I hope that everything will be encouraged
and brought into the world of hipLet' s hope so. Thank you
so much again to you Goodbye innothing like a book. We follow the

(14:31):
footsteps of women in literature. Follasnovas giggle give me it' s enome
that you will fit a mouraben mourabranca joice chamar not in novas fucks,
toshios brancho and silva you are irateor more girls fierce sorrows with mommy without

(14:58):
smell or freshness, bravas aguase happydinegandara a sproutes as they are not.
So we just heard the poem Follasnovas leaves new from Rosalía de Castro in
the voice of María Saavedra. MaríaRosalía Rita de Castro, was born in

(15:20):
the year 1, 800 thirty-seven in Galicia. As a poet and
novelist, he wrote both in Spanishand in his native Galician. His literary
work is recognized as one of thebest contributions to 19th century literature. His
poetic work would serve not only toinitiate the modern verse, but also inaugurated

(15:41):
contemporary Galician letters. His fragile healthwould greatly influence his writing, always marked
by a melancholy mood. Fortunately,she had the support of her husband,
journalist Manuel de Munguía, who neverstopped supporting her and encouraging Castro' s
anger Rosalia. He managed to reflectin his work the harsh conditions of work

(16:06):
at sea and in the countryside thatwere suffering at that time. In Galicia.
He was also concerned not to neglectthe uprooting of his countrymen who emigrated
to the rest of Spain and America. In their social criticism they did not
lack the references to the harsh lifethat the women of their time carried,
moving away in their texts from idealismthat surrounded the appearance of the feminine in

(16:29):
the literature. His vision of thesituation of women in the nineteenth century was
summarized in the following words. Onlysongs of independence and freedom have babbled my
lips, even though I had feltfrom the cradle and the noise of the
chains that were to imprison me forever, because the heritage of women are the

(16:53):
crickets of slavery. I, however, am free, free like birds,
like breezes, like the Arabs inthe desert and the pirate in the sea.
Her struggle for women' s rightsreached its highest exponent in her work
Foyas Novas, published in a thousandeight hundred and eighty as she herself reflected

(17:15):
in her prologue by pointing out thatwhat always moved me was the countless little
things of our women, loving,creatures with their own strangers, full of
feeling, so hard- hearted asto be soft in heart and also so
unhappy that they were said born onlyto endure all the fatigues that could afflict

(17:40):
the weakest and simplest part of humanity. Not only in his poetic work he
collected his social concerns, but healso expressed them in numerous journalistic articles that
generated great controversy when they were published, as is the case of the so
- called Galician customs, in whichhe harshly criticized the custom of acting as

(18:02):
a woman of the family to sailorsnewly arrived at Galician things. Having written
in Galician and his defense of women' s rights in a society marked by
patriarchy took years to recognize the highquality of his literary work. All 23
of February are celebrated Galicia since theyear two thousand thirteen on the day of

(18:22):
Rosalía de Castro, in memory ofthe ephemerides of his birth. Nothing like
a book. It is a podcastsponsored by the Canary Islands Library of the
Government of the Canary Islands, conductedby Juan Carlos Saavedra and Daniel Martín.

(18:49):
Nothing like a book. Books cursed, forbidden, full of legends and mysteries.
There are many books that talk aboutbotany and reproduce in their pages the

(19:11):
types of leaves that we can findin plants. Among those books is one
that is full of mystery and thathas more doubt behind it than certainty.
We are referring to the so-called Boinich manuscript, a book about five
hundred years old and written in alanguage that no one has been able to
decipher. The book consists of twohundred and forty pages and is full of

(19:34):
illustrations, including images of trees andplants. Many experts in the secret coding
of messages who have participated in thetwo major world wars have unsuccessfully tried to
decipher their content. Carbon fourteen atteststo its antiquity, although theories that attempt
to explain its origin range from asimple joke that someone wanted to spend,

(19:57):
to the opinion that it contains acult knowledge revealed by higher entities. The
latest research that has been carried outon it has been related to the part
where leaves of plants headed by thebotanist are supposedly collected to Surtuocker and with
support from NASA, attempts have beenmade to clarify that plants are those that

(20:18):
are represented in the book. Untilnow it was thought that these were plants
from Europe, since the manuscript waswritten in Germany. However, this new
study has concluded that we could standbefore plants on the American continent. Specifically,
they believe they have identified thirty-seven leaves of plants that appear in

(20:38):
the first Treaty on the Healing Propertiesof American Plants, published in the year
1, 500 fifty- two.This theory comes to add to the different
interpretations that have been given to thecontent of Boynit manuscript. Not only is
the contents of the book subject tomystery. His authorship is also unknown.

(21:00):
In principle, the British scientist RogerBacon, who died in the year one
thousand two hundred and ninety- four, was blamed. That authorship has been
ruled out by proving carbon fourteen thatthe scroll on which it is written was
elaborated between the year one thousand fourhundred four and one thousand four hundred and
thirty- eight, dates that possessninety- five percent probability of being correct.

(21:22):
Another candidate to be its author isEnglish magician John Dee. In the
16th century we may never know whoits true author was and we may not
be able to decipher its content.The first British writer to be awarded the

(21:51):
Nobel Prize in Literature came in nineteenhundred and seven was rut Jab Kipling was
born in Bombay in one thousand eightone hundred and sixty- five and died
in London in one thousand nine hundredand thirty- six. The soundtrack with
which we started this space corresponds tothe film directed by Alexander Korda in nineteen

(22:12):
hundred forty- two. Korda hadthe honour of making the first version of
the book, The Book of theForest, six years after the death of
that author, Rouget Kipling. Thebook, which was really a story collection,

(22:34):
was initially published by deliveries to amagazine. He also counted, in
some cases, on the illustrations ofRuyat' s father John Kipling. Tales
are based that raise moral reflections andthat are starring as a child, one
of them with the ability to speakwith animals as well as other animals in

(22:56):
most of the Indian jungle, withthe ability to reason and speak. If
you don' t learn to runwith your herd one day you' ll

(23:19):
reserve fle I couldn' t helpbut observe today there' s a strange
shadow k. We just heard thetrailer for Disney' s first version of
Kipling' s work. Although theproducer, as on many occasions, departs

(23:42):
from the original idea of the book, but it is certain that her soundtrack,
especially from this animated film, madecharacters like baguir Balu, King Louis
and Mowgli himself become commonplace among manyof us. Another marti. This is
my hor Only men can protect younow or poor and tender puppy. What

(24:07):
are you doing in the depths ofthe jungle? You' re a puppy
of a man who wants to livein the jungle. How do you know,
boy? I' ve got earstoday. Only I can protect your
fear. I' m trying tostarve occupation. It' s a song

(24:30):
about the good life. But perhapsthe film premiered in the year two thousand
eighteen, produced by Warner Bros,is the one that most faithfully collects the
walks of Moogle, the child raisedby a wolf with which Kipling wanted us
to reflect on the upbringing and themoral rules that make us make one decision

(24:55):
or another. Bye. N nn n n n n n anything like

(26:11):
a book. We open our trunkof memories, curiosities and literary novelties.
In our particular trunk we have foundby the hand of the poet Pino Ojeda,

(26:33):
a literary reference to the theme ofour podcast this month Las Hojas.
This reference leads us to the fiftiesof the last century. Between the years
nineteen hundred and fifty- two andone thousand nine hundred and fifty- five,
Pino Ojeda managed to place the CanaryIslands at the forefront of the poetry
of that moment, editing and directingthe magazine Alicio Hojas de Poesía. The

(26:56):
title of the magazine is born fromthe metaphor of seeing the dominant assets in
the Canary Islands as a transmitter ofpoetry, beyond the marine borders surrounding the
islands. It published works of thepoetic avant- garde, such as the
verses of Vicente Alexander and Juan RamónJiménez, both awarded with the Nobel cousin
of Literature or Carmen Conde, GerardoDiego Pedro Salinas Gabriel Celaya, Angela Figuera

(27:22):
and Angelini Gatel. Along with themwere also published poems by Canarian authors such
as Pedro Lescano, john A Maderaor Venturador Este. The publications also featured
illustrations and portraits by authors such asJuan Ismael and Manolo Millares. Unfortunately,
in the year nineteen hundred and fifty- five, the precarious economic situation faced

(27:45):
by Pinojeda forced her not only tostop editing the magazine, but also to
transfer a florist that managed. Despitethese economic setbacks, he did not renounce
to continue betting on culture and setup an art gallery on Sagasta Street,
in the middle of Playa de lasCanteras avenue, in Gran Canaria. Yes

(28:15):
Co- education, two zero Bibliotherapy, psychology, education, and books with
Elisabeth Lopez. So again in thisspace of books that save with Elisabel Lopez
or Elizabeth or Dani today we aretalking about when in our inner world there
is too much noise, so muchso that sometimes we don' t know

(28:37):
if those noises really exist or not. Or what is happening to us,
what happens to us when or whatbook you bring to us to bring back
or to reflect on this situation ofthese internal noises. There' s got
to be some noise, there's got to be some book that talks
about this for sure. Yeah,yeah, there is. Yes, there
is, because the real tough thingis when the outside noise is silenced and

(29:02):
you realize that inside the scandal istremendous in your head. Thank you for
that, there are people who don' t admit silence. Of course,
because it always has to be teleputingto the radio station, being twenty thousand
things, not always producing or doing, because it seems that we are at
the time when we are what wedo and not what we really are.

(29:23):
So I know a lot of adultswho have a phobia of silence, because
that' s when that comes upthat' s inside of us and you
say you all listen clearly and yousay hello look now that I catch you
around here that you' re notdoing 20, 000 things, we'
re going to chat and I'm really scared of you. So how
cool to be able to teach kidshow to manage those noises, abnormalize them,

(29:48):
accept them to understand that they're part of our day- to
- day life and that they're not our enemies that in the end
are a uy alarm around here there' s some business to solve. And
listen, when there are issues toresolve, that better than the doctor,
because you remember that color monster thattaught children to differentiate emotions by colors.
Yeah, maybe he did, too, that he became a doctor. So

(30:12):
now there' s an illustrator albumcalled The Color Monster. Doctor you remember
Dani was the colored monster, whoappeared one day of colorings because he was
in trouble and had all the emotionsupset. That' s when we say
adults, that' s what happensto me. But I' m a
little upset that I hear that alot, because the color monster was a

(30:34):
lot, and Luna, the girl, teaches her how to separate emotions by
colors because of blue sadness, yellowjoy and the children made a visual map
of value, because these are thebasic emotions, because you have to differentiate
between emotions and feelings, which sometimesconfuse them, because the basic emotions.
And to put a color on themnow it' s nuna that' s

(31:00):
going to see the colored monster,doctor, because it' s nuna that
' s upset and doesn' tknow what' s going on and can
' t put in words. Whathappens to them And it' s the
doctor who tells him, because lookin one I have a briefcase with a
lot of pocima or with a lotof medicines or whatever he wants to call
to fix what happens to you,even if you' re not able to

(31:23):
put words to it. And that' s when there' s a drop
- down on the super pretty illustratedalbum and it gives kids a bunch of
tools like painting mandalas, walking barefooton the sand of the sea or walking
barefoot on the lawn, making soapbubbles, singing, showering, eating something

(31:45):
rich. Well, it gives hera lot of tools you can do in
those times when there' s toomuch noise in your head and you can
' t get it in order.And that' s why I really like
the color monster and doctor, andthe kids love it because I think art
and self- care and reading andself- care. In the end,

(32:05):
culture goes hand in hand with self- care. When you enjoy a work
of art, a good book,painting, listening to a song of your
emotional state, it gets better,then it goes hand in hand. And
the color monster is a doctor,because a little guano one out there,
then, at the end of themoon even without knowing what was happening to

(32:29):
him, without knowing how to expresswhat was happening to him, he begins
to feel better. Why, becauseit reconnects with itself and comes down to
that mental noise that in the endwe don' t have to shut down.
Mental noise is impossible, it won' t pay, but we can
turn it down and make it ouressence, which has more voice than the
noise that comes almost always conditioned fromoutside by limiting beliefs, by expectations or

(32:49):
by all that a little joke.With the theme of the must of colors,
not with the monster of the colorsof two lathes, but with the
first. I' ve thought it' s a little unexciting to put emotions
into a glass jar like it's already been colored. It caused a
certain contradiction at a certain time.The illustrated album. That is why even

(33:15):
knowing how important it is to recognizewhere we are and what is happening to
us. Dani just rolled my brainand my mind just made me because,
of course, now, listening toyou I thought of something that had never
occurred to me, not even whenI read the book, because, of
course, locking up emotions in ajar is like denying them, because it

(33:37):
' s not sorting them out,it' s denying them, in the
end, you lock them up andyou put them away. And of course,
really what you have to do isI accept what I' m feeling.
I accept the emotion, however unpleasantit may be, not the attempt
to intellectualize, so to speak,I do not use the intellect to explain
the emotion, but I lower itto the body and I feel it accepted

(34:00):
and to hear it clear if youput it in a jar. Oh,
now you' ve just drawn mea whole book. No. No,
no, no, we' renot reading. Reading is to interpret clearly,
of course, but to make senseof it. In two years or
two months or a week, onepicks up the book again and changes from
something else, but of course whathappens if one breaks that ras that jar

(34:20):
of emotions overflows because locked in ajar, it is not managing the emotion.
It' s not managed, it' s denied, it' s
trapped and it' s invisible.I mean, we have. I don
' t know if these have createdmore noise than removing it. No.
I believe that your color, doctorhas removed the noise because it gives tools

(34:43):
without locking up emotions. But wequarantined the colored engine first before I was
a doctor, because I was denyingthe best That' s why it was
done, Doctor, because you realizedthat repressing emotions and putting them in a
france was not the ones. Isaid it. If I am remembering now
when you have worked in high school, which you told me is a day

(35:06):
when when these emotions are deported andbecome Ira, you told me that you
had prepared a box where students couldfind different tools to channel that. That
' s why I think you broughtthis book and it' s very well
brought in, because sometimes finding theright tool makes it a lot easier for

(35:30):
us, makes our life easier andwe don' t have to know everything.
So, this color monster, Doctor, with that drop- down,
is going to give us that possibilityand above all, several possibilities, because
Dani, what works for you might. It doesn' t work for me.
There are people who, when they' re in the middle of an
anxiety crisis, you can' ttell them to stop and breathe because you
can' t pass the sympathetic nervoussystem to the parasympathetic by stopping to breathe.

(35:52):
That' s not another process.However, there are people who are
able to stop, breathe, andchange from one nervous system to another,
but we all don' t workthe same way maybe for someone else what
you need to walk. To me, for example, it works a lot
for me when I' m sador when I' m in a bit

(36:13):
of a rush. What works forme is walking maybe. It doesn'
t work so much for me togo breathing. Right then I can breathe
after the walk. There are otherchildren or children or adults who work to
paint others, to sing, toothers, to read then clearly how there
is no absolute truth. Fortunately,in this book children can find many tools

(36:37):
that, if at this moment Ido not serve one, serve me another.
And I think that' s thecutest thing in this book. Well,
nothing, thank you very much forthe color monster Doctor. See you
in the next saving books. Wesee ourselves in nothing like a literary femerides

(36:58):
book moments for history and literature.If there is a month of the calendar
that has inspired the world of thebook it is undoubtedly the month of April.
Its relationship with spring and, therefore, with the birth of flowers appears
narrated in multiple literary works scattered throughoutthe planet. This influence, both literary

(37:22):
and cultural, stands out greatly inJapan and is linked above all to the
arrival of cherry blossoms that appear amongthe green leaves of that popular tree.
Such is the case that Japanese culturehas a word that invites us to spend
some time contemplating flowers. It's about the Hanami concept. Among these

(37:43):
stands out the cherry blossom called Sakura. For many centuries, the cherry tree
was considered a sacred being where thesouls of the gods lived, of the
mountains, already devoid of all magicalsymbolism. Today, with the arrival of
April n the families continue to gatherin parks and gardens to contemplate the flowers
and how they fall to the ground, representing the ephemeral of life. The

(38:07):
Japanese also spend time contemplating leaves ascane in the autumn. In this case
we are facing the Mogigari, activityconsisting of observing the fall of Japanese maple
leaves dyed in red. The Janamithat begins in April and the Mojigari that
happens in September are represented in muchof Japanese literature. The speed in which

(38:32):
we live life in the West preventsus from stopping time and enjoying the month
of April by contemplating how the leavesof the trees are dyed green and the
flowers acquire multiple colors in nothing.Like a book, we traveled to a

(38:52):
place called Amborondon to talk about children' s and young people' s literature.
Stories and stories for all audiences.We' re gonna make up a
story. It is the magic hour, the hour of it in many parts
of the world, in many schools, we almost always find this moment,

(39:15):
this magical moment, of the timeof the story, where a teacher,
in this case Lul Martín, beginsthis special space, not only for her,
but also once there was her student, a little red hood. It
was a It is a different momentbecause we put ourselves together, we tuck

(39:38):
around the book, where it isfound on many occasions, almost for the
first time, with oral narration,it occurs in a relaxed atmosphere. He
had a wolf, he was hisfriend, his friend the wolf, and
he was red- haired and thewolf the two friends made and we say

(40:00):
it' s a magical moment,because the boys and girls are going to
put in common that inner world,they' re going to listen, they
' re going to communicate, they' re going to participate and what adventure
they decided to live two friends,because in this story, our Little Riding
Hood and the wolf are friends.And anything is possible. Everything is possible

(40:22):
because in the world of tales,in the world of literature, we place
the only limits on ourselves. Redcap and wolf played hide and seek every
day, because they were super friends. But one day the wolf hid.

(40:45):
He hid, too. And sowe started our space in Samboronton, where
we talked about children' s andyouth' s literature, because recently I
had the opportunity to read to myselfthe magic of reading aloud from Megan Cox

(41:06):
Gordon, the intellectual and emotional benefitsof oral narrative in children and adults.
A book published by the publishing houseUranus and which I highly recommend very,
very much a hopeful book, fullof proposals and ideas and reasons to share
the moment of reading with the littleones, but also with the big ones.

(41:29):
I would like you to listen carefullyto the experience of Laura Herrera,
a mother, a mother who hasdecided, who has decided as a family,
to spend every day a little timereading aloud, to share that space.
When I heard it, I gotso excited that you' re gonna

(41:52):
get the same thing. I decidedto start reading to my baby because,
since I was little, my fatherread me every night a story, turning
it into our moment, where Ihave wonderful memories and wanted to pass that

(42:15):
on to my son who, whenhe was big, had those nice memories
that I have. That' swhy, at our time of reading,
most of the time it' stime for him to live so that he
goes associating with that reading. Itis a moment of calm, of tranquility,
of relaxation that is your moment.We are living it with great enthusiasm
until making a precious experience, becauseI not only a moment of Hugo and

(42:39):
Mommy without a moment of three,because Dad has joined and hooked himself to
the readings, thus making it ourmoment of family. We keep doing it
every night, because for us wehave seen that it has had many benefits
in the child, in his development. When it comes to looking, when

(43:00):
it comes to listening, when itcomes to listening, when it comes to
calming down, there is always amoment of calm. It' s not
all game too so that, asyou grow up, you don' t
become tedious or reading, but it' s something more enjoyable thanks to those
memories and those moments that we're creating with him and that I hope

(43:22):
someday it will turn you into atradition with your children or a nice memory.
The introduction of the magic of readingaloud thus tells us how much time
we spend reading aloud. It's a time that can' t be

(43:45):
compared to anyone else. When oneperson reads to another, there is a
miraculous alchemy that turns the ordinary thingsof life, a book, a voice,
a place to sit and a littletime. O O O O or
an extraordinary energy for the heart,mind and imagination. But what happens when

(44:08):
this encounter does not occur in thefamily and occurs much later in the school
environment. And we asked Luly Martín, who already heard her at the beginning
of space. We asked her whatit was like, how did this first
encounter between the book and the student, and whether she, after so many

(44:30):
years of teaching in the early childhoodeducation stage, found a difference between the
children who read them. When achild begins in the child' s cloak
in three years, you notice clearlythose who have not had experiences with stories

(44:50):
because they present a scattered attention toexperience, they have neither the ability nor
the ability to listen. They agreethat some have difficulties in language. They
do not structure the phrase correctly.They don' t have a broad vocabulary

(45:12):
or even have some digislalias. Inaddition, they lack that enthusiasm, that
spark that the boy, the girlusually has and express when you tell her
a story in lack of experience,little motivation. But a story is a
resource, it is a magical resourcethat soon traps students in thousands of adventures

(45:38):
that they love. It is anindispensable element in the classroom. It'
s like every day' s breakfast, healthy and good for the heart.
They are spaces that are routine,that all become familiar and learn in different
formats and with varied books, addingliterary experience. At this stage it is

(46:02):
the magic hour, the time ofthe tale and colorful color. Applauded and
liked the author continues to say inthe introduction that family life can be frenzied
and agitated and sometimes it costs abarbarity to keep everyone afloat, not to
say drag them to the saved raft, to read them out loud when it

(46:29):
is time to go to sleep.But it is a worthwhile effort, especially
at this time where almost all thesaved rafts are bobbled in an immense and
often lonely sea of pixels. Wewill hear another experience from two parents,

(46:51):
Peter and Iraya and how they havetaken this saved to their daughter. Read
every night to our daughter. Ithink she' s made me a much
more curious person, more awake,she' s a very inventive girl,

(47:14):
that is, she also does herown literary production. I see you'
re interested in stories, she makesup her own stories, her characters.
Reading for me also helps me todeal with day- to- day life
themes from a much more loving andeven simpler way, sometimes because listening to

(47:38):
or reading some story or some literaturethat is related to some emotion or some
life situation, as it could be, for example, I remember death not
when death appears in the imaginary thisinfantile from two to three years old,

(48:00):
because reading has helped us a lotto normalize a situation that for them is
difficult to put words, share littlereading with our daughter, because to me,
for example, it has given methe opportunity to think about the emotions
or experiences that the characters live andtake them into our lives and have very

(48:22):
beautiful dialogues about how we feel orhow it felt if we ever felt.
This gives us spaces and moments totalk about life, to talk about us.

(48:44):
Megan Cox also tells us that whena loved one reads a story to
us, we let our guard down. We exist together on a small plot
of warmth and light. And he' s absolutely right in the world,
because, in addition, research onthe brain and behavioral studies are beginning to

(49:08):
make exciting discoveries about why, aboutwhy all this happens. When we read
out loud, I' d likeyou to listen to the day. She
is a teacher, she is amom, but she is also a great
reader and she is a mother oftwo children who are now teenagers, and

(49:30):
we would like you to tell uswhat her experience has been over time with
this almost continuous activity of reading children. We' ve been readers since we
were little kids. We always reada lot of stories, not any story.
We read illustrated albums, because Ithink that being able to observe the

(49:52):
images also help greatly to transport,analyze, appreciate. In fact, now
that they' ve grown up andteenagers eighteen and fifteen, well, one
of them, because he doesn't have that reading habit that he had
when he was younger than he wasled by me. He was not willing

(50:13):
to simply face the readings that,because of his educational level, force him,
in quotation marks to read. However, the little one who is fifteen
does Lee Loves history, geography,the reader of historical and fantastic novel.
And I read a lot about themnow, in this process, in this

(50:35):
age in which they are, Igreatly appreciate their development in terms of their
linguistic competence. They are girls whoare able to express themselves, to write
in a correct way, without toomany faults of octography. But, above
all, one of the things Ilike the most is that they are able

(50:58):
to appreciate the beauty of things,the things around them, the everyday things.
They are able to say my soulthat beautiful looks, looks, how
you are and how and besides,the empathy they have. I think it
' s also an aspect that developsa lot through the characters' tales and
countless values. I think reading storieswhen children are clearly small a fundamental activity,

(51:23):
because I hope they have been encouragedto read aloud and I would like
to end with a sentence by UrsulaKalewin. Love is not inert as a
stone. It must be created asbread to be continually redone. Again,

(51:45):
what do you think if to continuallyremake love we do it by reading together
verses to the wind poems until thenext encounter and we finish today' s

(52:15):
episode with a poem by Félix RubénGarcía Sarmiento, better known as Rubén Darío.
We ended up with a small poemby this Nicaraguan writer who talks about
autumn, the leaves fall in thefall and closes the book of this thirty

(52:37):
- eight episode of nothing like abook. I know there are those who
say why he doesn' t singnow with that harmonious madness of old.
Those do not see the deep workof the hour, the work of the

(53:00):
minute and wonder of the year.I poor tree produced the love of the
breeze. When I started growing alazy and sweet are already spent the youthful
time. Smile let the hurricane movemy heart. Nothing like a book.

(53:28):
It is a podcast sponsored by theCanary Islands Library of the Government of the
Canary Islands, conducted by Juan CarlosSaavedra and Daniel Martín