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Crepitación de ausencias(A selection of poems written for magazines and newspapers from 1975 until the book of poems was published) Salamanca, Artes Gráficas Varona, 1989.

This book is composed of 22 poems of different topics and reach, but of equal rhythm and style. Some of them betray a still immature composition but others are defining and definitive of a well finished know-how and the author's richest inspiration. The curious reader will be able to find them in magazines which back then were created in the bosom of the University of Extremadura and which do not exist nowadays, such as Gálibo, Alcántara, Anaquel, Oropéndola and Cuadernos de Grado Medio (this last one was created and directed by the author for ten years).

 

Del libro de mis horas (It collects in an elegant, corrected and increased edition a dozen poems, the compositions in the previous book and it includes a preface and two epilogues). Salamanca, Editorial Astrofuente , 1992.

The author bestows on this book a unity, maybe not thematic, but rhythmic and stylistic. The author of the preface, who is another poet of the same age, a colleague and a generation, school and group companion is a Spanish Literature teacher, Mr. Luis García-Camino Burgos, says about this book: "in this day in age many good poets, among which we can find Teodoro Sáez, look back on this eternal teaching of humanity (intimate poetry in the lines of Garcilaso, San Juan, Bécquer, L. Panero, philosophical poetry which questions existence looking back with melancholy seriousness, self-questioning metalinguistic poetry, above all lyric and loving poetry...). Thus, there is a bit of everything in this kind of poetry , to the extent that the typical poem is that in which we can find a description, some of them are very beautiful, especially those referring to the people and the nature of Castilla- a reflection, some memories and, at the end, without being able to help it, nostalgia" To what was stated by the author of the preface we may add the comment made by the author of the epilogue, Mr. Mariano García-Landa, who holds four degrees achieved in various European universities and a PhD in Translation Science acknowledged at La Sorbonne Nouvelle III.
Besides, he is a conference interpreter, and a writer who starts off by stating: "Teodoro Sáez Hermosilla is nowadays one of the few Spanish translation theorists of international importance. It would not be exaggerate to say that, since García Yebra, he is the only one...". After unfolding his explanations for such a laudatory and for sure exaggerate statement, he ends up with these words: "However, it turns out that T.S.H. not only is a translation theorist, but he experiences it to the highest and most difficult level: poetic translation (..) only a poet can translate another poet's works (...) and T.S.H is a poet in this book in which he gathers a real lyric voice exposed in a formal construction of baroque luxury and a glimpse of metaphors, a lyrical-subjective voice of a wide, romantic kind which talks in a post-mallarmean language of a rich, transrealistic moiré to mention the saying about the self thrown into a world of appealing signs, the gedeutete Welt of the First Elegy of Duino, Rilke(...) We had forgotten subjectivity because we are living in a more and more reified world, whose trend is criminal: the murder of the self. This is to say, the subjective energy of the work produced by the world of human life. Thus, these poems remember and repeat what we had forgotten and translate it to today's feelings. And if that feeling belongs to today, just as it beats in the formal space of these poems, it is because the poet is located in time: I was born after Mallarmé."

 

Cancionero del tránsito(Preface written by Mr. Ricardo Senabre). Salamanca, Col.Álamo, 1996.

Through this work of unblemished rhythmical unity, measured and dense musical harmony, restrained flight and gallop of a deep feeling, the author situates himself, according to the critic of the book that the author reinterprets his own way, "nel mezzo del cammin", like Dante was in the middle of his work and his life. Awareness of a sudden death getting closer has interrupted his threaded metaphor made with tenderness and strangeness. The melancholic memory of the past has turned into elegy and requiem by the grace of an ill-fated present. The singing-and-thought have turned into crying and elegy. Thus, the poet has calculated what is left of his life and from a high place, on the side of his Carmelite hill, has watched in amazement the stormy times of his non-crossed horizon. He has interrupted his melodious singing, his repeated complaint about what could have been, about what could have been done and was not done, and not created. He has decided and solved the confused double adagio of his thoughts and his voice to explain his circumstances and to summon things using a plain rhythm and simple words. Looking at this new horizon, he has joined in again with a new and unheard of path. But the experience of change has not been completely solved.

Inevitably, the gloomy singing has continued flying overhead like a circle of vultures, the gloomy singing and the ill thoughts, with the even more fixed idea of a close and expected death. Only at the end of the book, in the last singing, the poet puts his faith in a past he cannot help assuming, a future full of will and hope, while he denies his complaints one by one. The critic, Mr. Ricardo Senabre, fairly valued and recognised, as well as being a good teacher and still a friend, is not, unlike the author, a poet. He talks in his preface about a unity of content and style, in its double involvement of meaning and significance, together in the will of saying and especially of the way of saying things, which is the foundational and constituent aspect of literature in general and especially of poetry. He gives evidence of the truth of the transit, as well as the honesty of reflection and the emotion of the creator, and I quote, " the richness of Teodoro Sáez as a writer, of the variety and severity of his language, of the suppressed expressiveness of his metaphors, of his surprising verbal findings, the balance between classicism and modernity which this poetry offers." Mr. Ricardo Senabre finally states: "This existential vicissitude, which is a aesthetic adventure in the form of flesh at the same time, revives in us the deep emotion which can only be found in true poetry."

 

El viaje inevitable (Book of poems in memory of the author´s ancestors: "those who were born, lived and died in the land of Bureba". The preface, in Fray Valentin de la Cruz´s handwriting, official chronicler of the province of Burgos, journalist, leader-writer and a prolific writer - he has written more than 40 books and hundreds of texts in form of articles, reviews, "pregones", etc. He is a genealogist and a heraldist, an academic of Fine Arts of San Fernando, a doctor of Civil History and he teaches at the UNED (Spanish Open University) as a professor of Spanish Medieval History, Palaeography and Diplomatic) Salamanca, Kadmos Printers, September, 2001

"El viaje inevitable" is, without a doubt and above any other journey, the one who leads the human being to a certain, but maybe not definitive, death. Therefore, it also is, and at the same time, a journey to a possible beyond, the return to the origin of everything that has been created. It is a journey in the middle of the night, in the blurred gap left in the fog, carrying one's weight all along the streets of an ultramodern city or the old roads of the scanty Bethlehem of birth, with all the circumstance of what has existed and has been learned. The irreplaceable figure of the mother, of whom the poet knows he has inherited the gift of poetry; the image of the missed grandfather because, despite his adventurous, selfish and almost wild to the core nature (as former men were) and passed over but never forgotten, serve as a guide and a reference.

The poet would like to embrace all the geometry of his journeys, past ones and those to come, the extraordinary and ordinary ones. However, without being able to help it, he is dragged to the dark sea of death, he looks back to the roots and the blood of his ancestral home, heritage and beliefs. And then he remembers his circumstance in life and assets. It is an abridgement. It is a balance. It is a passage and a return, a return and a transit, but it also a meditation about the human being from the most irrational part of the subconscious to the most sublime part of creative inspiration. It is a bet not to die completely, to stay alive to a certain extent, to have hopes. The last poem is considered by the author of the prologue as wagnerian, and admitted by the author to be inspired in T.S.Eliot, G. Greene and also in Lorca, Neruda, Fray Luis, San Juan de la Cruz and in French poets who are his constant source of inspiration. This long poem has been considered by some critics as having historical interest and universal merit, but this opinion must be supported by the public and by time. In the case of poetry, it is history which has the say, to everyone's good or to the author's reasonable glory or disappointment. Let's remember for now Fray Valentín de la Cruz's opinion, a man who has enough authority to give his value judgement, in the last paragraph of the prologue: "This Viaje inevitable seems to be such a serious and elaborate book to me that I hereby declare that I haven't read anything similar in the past decade. Of course, my readings have been limited. This book of poems so exactly threaded could have been written in an oasis of peace of the 16th century or could have waited for the 22nd century to come. The topic is always current and the form, with its polyrhythms, does not distract the reader's attention. I think that this book and its author will be something to talk about in Spanish Arts."