Flemish Opera Study Guillermo Gullermo Pilia Pilia's poetry is a classical poetry in substance and in form. His subjects, Flemish Opera, are the children, death, the passage from childhood to adulthood, the inner journey toward that child we were, innocent, innocent, which leads to maturity with the loss of innocence involved, a child destined to be an adult and, inevitably, die. The first part, Fuentepina, is a walk through childhood, the memories of that age when children live in the shadows without fear them. Perhaps because they themselves, with their intuition has not contaminated by age, are partly the same people. But Let us stick to the poems of William, with cleverly worked hendecasyllable fluid, precise and full of significance. The first poem of the book is entitled Nazarenas of words, playing with two meanings: first, in Argentina, great spurs Nazarene are used by gauchos, and also of Nazareth is one that parades on Easter the penitent is participating in the processions.
Do not forget that part of this collection is set in Andalusia, where the Easter represents the Christian symbolism and popular devotion. As a child, was perpetual summer because it was the age of children with no space or time, without conscience and without clocks, age seamlessly into the wall of the world. I wonder: Can there be a better definition of childhood? We all know how time passes in childhood: a seemingly endless, days are long, extended weeks, years are eternal. And just this age and time begins to run, it appears the prosecution of clocks, time while establishing a career with us, we are destined to race to lose. In childhood, the house is the size of the world because the house is reflected throughout the world, the world of lights – noon, the excess of light – and shadows of dusk, bats, and poet assures us, in the middle of the poem: I was used at that time / to sleep without fear with the dead / and I had forgotten, or ignored – / forms of living among the living.