Alaior, 1956. Poet, writer, critic and translator

Ponç Pons defines his poetry as classical in its rhythm, modern in its expression and forceful in its content. In other words, firstly, Ponç Pons only writes poems that respect metrics, with a rhythm that is pleasing to the ear when they are read. Secondly, he uses a literary language that, while cultured in its register, also reflects the present-day use of Minorcan. Finally, he does not coneive of poetry as a simple rhetorical or formal word game but rather believes that the poem must always have something to say and that what is to be conveyed must be powerfully conveyed.

[...] On the one hand we have varied and heterogeneous sources of inspiration - or "pretext" (pre-text), as it might more aptly be named, one suggests - and, on the other, the application of this variety to equally diverse stylistic recipes. In effect, there is hardly a single poem in which we cannot find the tradition that Ponç Pons claims as his own: Vladimir Holan, Franz Kafka, Graciliano Ramos, Montale, Pessoa, T.S. Eliot, Walter Benjamin, W.C. Williams, Nerval, Marcel Proust, Wittgenstein, Matsuo Basho, Seamus Heaney, Ramon Llull ..., a tradition which is that of a Poundian Digest but now updated thanks to the culture and readings of a modern-day man. Pons is modern-day because he writes for his equals, for an anonymous public that is represented by himself above all. And it is this sum of entelechian individual readers that is precisely what makes the modern world what he understands it is: a Babel of multiple and disparate interests before the fact of culture, and a global village of human affinities, a mosaic that, the more it grows and the bigger it gets, the smaller and less significant are the pieces that comprise it, and the more homogenous it becomes from a sufficiently distanced perspective. (...) This great anthology of literature that Ponç Pons offers us also has, as is to be expected, all the possible forms: that of the narrative exposition of a Central-European story set in Menorca ("Milena"), of the delicate Oriental watercolour ("Les Petjades Escrites" - Written Footprints), of the May-'68-rock-just-under-the-water list of "Divagavari" (Divaguely), of the dialogue in the rhymed quartets dedicated to "Bernat Huguet, the eighteenth-century Menorcan poet ?", of the epigram ("De Gravitate Mundi") ... Hence we have a collection that achieves its own tone and colour, its precise gamut, thanks to the variety of voices that are mingled in it. The sum of the cobblestones has brought into existence a path that leads to this point - where the track ends. [...]

Francesc Parcerisas, Prologue to Ponç Pons, On s'acaba el sender (Where the Track Ends) (Barcelona, Edicions 62, 1995)

[...] In the case of Ponç Pons, a writer who is open to transcendence, with work of a perceptible spiritual content, there is a fruitful coming together of a huge knowledge of the cultural world that characterises European modernity and a full identification with his island territory. In his work we find the familiar presence of Gauguin, or Van Gogh, or Eliot, Pound, Rilke, Pessoa, Montale and many others. Ponç Pons, although he eschews being called a scholar, seeing himself rather as a man of letters, does, however, passionately inhabit the rich literary world that pervades his books, endowing them with numerous references. However, the work of Ponç Pons is no simple inventory, a kind of drawer where time and literary concerns have been accumulating all the books he has read. Ponç Pons is an imaginative writer of great creative power, who is felicitously constructing an intense and crystal-clear personal voice.

[...] Among his writings we find these lines: "My eyes are so worn from living in the pages of others, / my heart so weary of living the lives of others, / that I now take up my pen and try to write some lines / to save this day that is about to expire". On one occasion Ponç Pons said, "I write for me or for an invisible reader who has all the combined features of the authors I love". This reflection moves me to recall some words of Blai Bonet in the Prologue of his book Cant de l'arc (Song of the Arch, 1979): "If I had to write a book that was the description and the expression of the human being installed in me, the title could possibly be La Casa en obres (House Under Construction) (...). I let myself be. I let myself be made. I am happy to see and hear that I am being built (?). Let yourself be constructed and you'll know what transcendence is all about".

[...] One of the most significant qualities of Ponç Pons' literary work is the rigour with which he conducts his relationship with language, whether he resorts to a colloquial or popular expression or his aim is to re-create the poetic language of a long-gone writer or, as is more often the case, to write an intimist poem.

Carles Duarte i Montserrat, "Ponç Pons: Una illa de paraules" (Ponç Pons: An Island of Words), speech given at the launch of Estigma (Stigma) (Barcelona, 1995)

El que en diem principi és tot sovint el final / I arribar al final és començar. / La fi és d'on partim. (What we call the beginning is often the end / And to make an end is to make a beginning. / The end is where we start from.)
T.S. Eliot

With the appearance of El salobre, Ponç Pons closes not only the poetic cycle formed by his last three books but also a whole period in his production. However, in closing a trilogy and a stage, El salobre also opens up new horizons and perspectives on Pons' work. In brief, El salobre is a "hinge" book that joins past, present and future in the poet's literary project.

Pons´ already-extensive poetic work can be clearly classified into three periods. The first runs from 1978 to 1988 where the poet is wrought, his vocation confirmed, his voice consolidated (after quite a variety of attempts), and his first works of a certain ambition are published (Al marge (In the Margin), in 1983, and Lira de Bova (Bulrush Lyre), in 1987). The second period falls between 1989 and 1997 and this is where we must locate the vital commitment that Pons established with poetry and with his own work, and his achievement of an impressive maturity as a literary artist starting with the collection Desert encès (Desert Alight), published in 1989. Throughout this second stage, Ponç Pons rendered passionate and expansive homage to literature itself and very especially to all the writers who have been decisive in his apprenticeship as a poet.

This tribute has frequently taken the form of assimilated quotes, embedded quotes, imitations, variations, dramatic monologues, etcetera. In this regard, the more recent works of Ponç Pons should be situated in the tradition of modern poets, from Browning and Whitman to Eliot and Pessoa, which has fragmented and dynamited the poetic "I" of the western tradition.

The epicentre of the second phase of Pons' production is the trilogy consisting of On s'acaba el sender (1995), Estigma (1995), and now El salobre (1997). Within Pons' work as a whole, El salobre has the function of closing this period of "tributes" and inaugurating a new stage, the third, which is marked by a progressive abandonment of the cultural emphasis of his previous poetic style and the emergence of a more naked, more authentic and more penetrating voice that is nourished more by the poet's own moral life that by literature.

D. Sam Abrams, Prologue to Ponç Pons, El salobre (Barcelona, Proa, 1997).

[...] Any one of these [fictional] texts testifies to the fluidity of Ponç Pons' prose. His prose is personal, ambitious and unerringly finds just the right word to seduce the reader. It is no coincidence that some of his books have been both enthusiastically received by school students and lauded by the critics.

[...] Since he was ten years old, when he set out on the adventure of reading and writing out of biological necessity and the need to broaden his horizons, Ponç Pons has not stopped journeying through the exuberant and abundant universe of the great writers of all cultures and all times. Since then, "I always sleep with pencil and paper next to my bed". However, not everyone can cover the distance that lies between beauty and our own eyes without falling into the abyss of vertigo or impotence. Especially when this beauty has been revealed to us by the elect. One would have to be oblivious or have the hide of a rhinoceros not to be defeated by the clarity irradiated by the lines of the great poets. It is either that or one has not lost that initiate's purity that Ponç Pons had when he was still in short pants, when he used to climb up to the attic of his family home to be Cervantes writing with an old pen in pale candlelight. He describes a night when he came in from playing and, from the street, through the windows of the house of a well-off family, he saw a scene that was like something on the screens of the first television sets that had come to his village, and he decided then and there that he would devote his life to words. Which he has done, even though he has sometimes had the same experience as Marcel Proust had in his novel Swann's Way. "I have nothing in mind but want to write", he says in one of the poems of Al marge. At that point, he was aware of a certain immaturity. Yet this reality, instead of discouraging him, became a stimulus.

To put it precisely, if Ponç Pons is one of the best poetic voices we have at present, it would not be so much because of his quality as a resolute and devoted reader of the great works but rather because he has known how to conserve the pure, clean water of his early childhood paradises. [?]

Toni Vidal Ferrando, "Els mots d'àlgebra i llum de Ponç Pons" (Ponç Pons' Words of Slgebra and Light), speech given at the launch of El salobre (Barcelona, 27/5/97)

Copyrights text © Francesc Parcerisas, Carles Duarte, Sam Abrams i Antoni Vidal Ferrando