Septentrioz Septentrio Aurelia Arkotxaren bi libururen irakurketa bat

Aurelia Arkotxaren Septentrio deitu lan erudituak hobeki ulertzeko, konpara ditzakegu Mallarmé-ren obraren norabide poetikoarekin. Hain zuzen, bi idazleek liluratzat dauzkate gizakia bultzatzen duen kosmosa eta bizitzaren jatorri metafisikoaren bilaketa: den guztiaren oinarri litekeen transzendentzia hutsa edo betea ez da giza ideia bat baizik, hitz-eraikuntza gezurti bat baizik. Bainan, errealitatea ulertzeko mintzamena alfer izanen zaigula ohartu beharrean, beste tresnarik ez dugula onartzekoa dugu. Horregatik, hitzetan baizik existitzen ez den Ipar ideala deskubritzea Mentura kosmikoarekiko Joko ironiko gorena dela dirakuste bi poetek. Aurelia Arkotxak bereziki palinpsestoa, parodia eta pastichea baliatzen ditu, bere bidaia existenzialak literarioki eta fisikoki lehengo deskubritzaileen urratsei jarraitzen diela. Septentriotik nehoiz hurbilduko ez dela jakinez, beti jadanik errana izan dena errepikatzeko arriskuan edota isiltzeko zorian, halere, poeta etsiezina Iparra islatzen saiatzen da, etengabe, Septentrioz Septentrio.  

    To understand better Aurelia Arkotxa’s erudite books called Septentrio, we could compare them to the poetic orientation of Mallarmé’s work. Indeed, both of the writers consider the human search for the metaphysical origine of the cosmos and of the being as an illusion: the transcendence, full or empty, which would be the foundation of all that is, is only a human idea, only a verbal and deceitful construction. But, even if we are bound to realize that language will be vain for us to understand reality, we have to accept that we do not dispose of any other instrument. That is why the two poets show that discovering the ideal North, which does not exist but in words, is the supreme ironic Game with the cosmic Chance. In particular, Aurelia Arkotxa uses palimpsest, parody and pastiche, her existential travel following the steps of past discoverers, physically and in literary terms. Knowing that she will never see the “Septentrio”, running the risk of repeating what has always already been said, or at the point of silence, nevertheless, without despair, the poet tries to represent the North, uninterruptedly, from Septentrio to Septentrio.