PREMIO NOBEL DE LITERATURA 2024
La autora que ha cautivado a millones de lectores en el mundo con novelas como La vegetariana y La clase de griego nos sorprende y deslumbra tambien como poeta.
<>. -Berna Gonzalez Harbour, El Pais
Un poemario impactante, en edicion bilingue espanol - coreano.
Premio Nobel de Literatura en 2024, Han Kang se revela en Guarde el anochecer en el cajon como la gran poeta que alienta tras sus muy celebradas ficciones.
El <>, ese espacio ambiguo entre dos luces, se convierte en el escenario en el que una voz dolida e inteligente nos habla de la soledad, la enfermedad, el encuentro entre muertos y vivos, la fuerza fragil de la palabra, la necesidad del arte.
Sin conocer en detalle la anecdota que genera el poema, el lector ingresa sin embargo en un ambito de inmediata y poderosa intimidad que acaba haciendole participe de una especial trascendencia cotidiana.
Se trata de una poesia delicada, oscura, inquietante y tremendamente visceral, que pone el cuerpo y las emociones en su mismo centro. Como ha dicho la autora en The New Yorker, <>.
ENGLISH DESCRIPTION
NOBEL PRIZE IN LITERATURE 2024
The author that has captivated millions of readers around the world with novels such as The Vegetarian and Greek Lessons surprises us and dazzles us as a poet as well.
An impactful poetry collection, in a bilingual Spanish-Korean edition.
In I Put Away the Evening Inside a Drawer, Nobel Prize in Literature 2024 Han Kang reveals herself as a great poet that inspires after her most celebrated fictions.
The "evening," that ambiguous space between two lights, becomes the backdrop of a wounded and intelligent voice that speaks of loneliness, disease, the meeting between the living and the dead, the fragile strength of words, a need for art.
Without knowing the details of the anecdote that spurs the poem, the readers, however, enter a space of immediate and powerful intimacy that ends up making them participate in a special everyday transcendence.
It is a delicate poetry, dark, unsettling, and tremendously visceral, that puts body and emotions at its very heart. As the author told The New Yorker, "Language is like an arrow that always misses its mark by a narrow margin, and it is also something that conveys emotions and sensations that produce pain."
