Irving Juárez Gómez (Mexico, 1978) has a PhD in Humanities at the University Pompeu Fabra. He has reviewed several poetry books for journals and magazines such as cathedra and armas y letras, both published by the Autonomous University of Nuevo Leon, Mexico. In 2006 he was editor of the Diccionario de creencias y tradición oral de Nuevo León, a dictionary focused on popular culture beliefs and oral traditions. He co-wrote a high school textbook titled Lengua Española III designed to improve writing and oral skills in young students. He has collaborated as a musician with Mexican folklore singers such as Pedro Morales, Rafael Catana and Kristos Lezama, and had his own rock-cumbia band during his stay in Barcelona called The Breaking Band. He also has worked in different projects as an editorial designer.
Although it may seem strange that an unknown and young poet like Eduardo de Gortari builds his poetics from reminiscences, the fact is that in the time we are living it does not seem so. His poetry is about the intention to rebuild past memories from cultural objects, but this is not unusual because nowadays our environment is so dynamic that the world, just a decade ago, hardly resembles the one we are living in right now. In the present study we argue that a compelling reason of why nostalgia occurs in the poems written by such a young poet is because of the speed with which certain artifacts, like a Walkman or a cassette, and cultural objects, like old television series, become obsolete. We will argue that the ontological security derived from transitional objects explained by Anthony Giddens and Donald Winnicott is one of the reasons for this nostalgia. Thus, we will observe two poems in which this kind of objects are linked to the past and to that place in which the poet was sheltered by them.