Peru Saizprez

- Peru -

Born in Lima - Peru in 1971, he is considered the most unknown poet in the world. He was raised in several Latin American countries, studying in 9 different schools. Poet who lives and writes between two worlds, his and ours. He starts very young but does not publish anything until he establishes himself in Europe. He arrived in Madrid in 1989 fleeing the fierce economic crisis of his country and the violence of the Sendero Luminoso.


He started to study Advertising Art and halfway through his career he realized that he had been wrong and had been studying Communication, too late to change. He works in the best agencies of the country as copywriter and finally creative director in some of them. Take advantage of this time to feed your creativity and writing processes. He starts doing readings in bars and places where nobody was waiting for him, writing the poems that he was going to interpret minutes before the microphone. During these times he also dedicates himself to making a multitude of poetic actions in the city and on a personal level, which he calls Peruanadas, inspired by Zaj, Fluxus, Parra and Dada.

In 2003 he published Sexo Satélite, his first work and a book totally decontextualized from the literary scene of the moment, something that will be characteristic in his work since then. Thanks to this book he meets his future editor Pepe Olonawith whom they would initiate different literary adventures that will last even after this biography is finished.

In 2006 he published Un Corazón Con Pelos, a book with which Arrebato Libros became an Editorial, which places him as one of the new authors of the underground Spanish poetic scene, a distinction with which he does not identify himself either. By this time its readings begin to be more performative, inventing the term Concerts Without Music, to denominate define their performances. It is from here without doubt, a stage poet.


In 2008 published Masturbación En La Mesa Sin Cuenta, a book object of a single verse, which is actually, for its content, a sexual object book. The manufactures and figures one by one with his own hands to complete 300 copies. For these years his readings multiply and transcend the borders, reading in several countries in Europe and Latin America, including the United States.
He also writes Madrid Laberinto XXI together with the young and prolific Spanish dramatist Darío Facal, with whom he initiates a series of collaborations related to the theater. 

In 2011 they return to work together and premiere La historia Imaginaria de Bonnie And Clyde, a contemporary, emotional and violent review of the famous gangster couple.

In 2013 he is about to die and begins a long period of operations after which he loses his navel. Although all this reduces his poetic production, manages to end the year by publishing his latest book to date, Hotel Trip Càrnival.

Peru Saizprez does not show up for literary prizes or apply for cows or art residences. Lately he is working on his 5thbook, which will be published with the name: Book.

Peru Saizprez´s poetry has a high content of "performance" both on stage and on paper. Everything in his workunfolds in a particular mixture of aesthetics and communication, where words occupy unsuspected places, playing with the attractiveness of meaning at the same time thata visual hierarchyis created.

That same undisciplined formula that leads him to use different typographies and letter sizes on paper, creates a chorus ofhigh-flown, transgressive, disobedientand chaotic voices, producing a kind of poetry very close to the postmodern nihilism of the period in which it is produced.

His poetic work rises against allprotocol, against the use of the worldandthe late capitalism. It comes to blowswith the established and manages to make grass grow on the hard asphalt. It is not about reversing order but more about chaos against chaos, a cry of hope amidstthe smog of the city. He is in favor of climbing buildings, having breakfast on rooftops, writing in public bathrooms, drinking champagne by the fire, mortally wounding ties, living on two wheels, shooting on the skyline with a fairground shotgun. His poetry climbs downfrom the windows usingknotted sheets to flee to the sea and write in the sand that freedom is not worth a shit.His poetry is arrhythmic and stubborn, parodic and playful. His poetry isborn at the rhythm of a rattle with the first light of every morning. Nothing is artificial because everything is, and it´s in it where Saizprez finds hisownlanguage, his intimate way of living the era: taking to its ultimate consequences the alienated of the moment, and that´s whyhe loves the plastic of the leaves and the hum of the air conditioning. Peru Saizprez is from this world and heis not.Sometimes, to listen to his poetry one can only use distance glasses, and yet each term and each subject of the sentence needs a magnifying glass and a scalpel. Since at the end of each sentence, at the end of each verse, there is a sweet sensation that everything is a hymn to the beauty. The sense that the poet surrenders to the smell of the factories and to the melancholy of the television programs. The sense that he lets himself be flooded by the sounds of the city and rescues from it the crickets of mobile phones and the hearts of traffic lights. And everything is done for the sake of beauty, and everything comes to life because beauty is in all things, from that kiss in the doorway of the house to the blood of the accident, from the metallic carpentry of the shopping center to the trickle of sulphurous water in the neighborhoods of the West.

But one more thing is drawn on the horizon of his poetry: everything is beautiful because everything is contingent. Each poem is an ode to devastation, to annihilation, everything has the desire to be destroyed, to collapse. This "metaphysics" of the artificial appears as true salvation, as a messianic precept, as the necessary catharsis for everything to coagulate and explode. Therefore, the poem, the poems, the poet sings to extinction, and to the beauty of the atomic mushroom, to the paradox, to the simple explosion, to the precious colors of the sky on the day when the world disappears.

It is this state of melancholy that ends up permeating all his work, making it iridescent, creating the contrast of the empty pool, the flaming plain, nature engulfing every inch of this ruined world, the savage of the bodies bathed in a thick layer of tar.