It has a mythic quality. It opens like a story, like a minature Iliad. Maybe the shifting verb tense gives the poem, in Spanish, a kind of timelessness. These are the always-poor, the poor of the past, the present, the future. But English grammar is less fluid, and such changes in tense can be, at first, disorienting.
ME : Both of you share a commitment to nature and natural landscapes in your poems.
How do you see nature in the poems comprising Pinholes? With Nezahualcoyotl, nature is the place where all of us find ourselves dying. With Zurita, nature is the Pieta, a mother holding her broken son in her useless arms. RZ: And who might be an expert, Forrest?
From the first day of creation to capitalism we are testing the waters. I thank you for your reading, it is brilliant, but with me you exaggerate. I would love nothing more, but unfortunately I am far less interesting than what you say.
You are using an outdated browser. Some, such as Vicente Gaos and Gloria Fuertes, preferred existential emphases. She became the first woman elected to the Royal Spanish Academy and was the most honoured woman of her generation. While poetry and theatre claimed the major honours, Spanish Romanticism also produced many novels—but none that rivaled those of Scottish contemporary Sir Walter Scott. The Civil War and its traumatic aftermath prompted the abandonment of pure poetry for simpler approaches.
In Spanish America, nature emerges as part of a heroic deed; that is to say, emerges as a story. That, I think, marks everything. Nature in Neruda predates all conquest and is the promise of definitive liberation; in Nicanor Parra nature is the synonym of total defeat:. We think we are a country and the truth is we are barely a landscape. ME : Many of the poems in Pinholes encounter death.
What can be said about death in these poems? RZ : Poetry is the first response to the absolutely abysmal, insurmountable fact of death. We are children of the poem and of death. Just as all the elements present in life were present in the initial explosion, in the Big Bang, death and poetry are the DNA, the mother cells, of each human being who walks or has walked this earth.
It is what unites us in that primordial moment in which something, a trembling being who has just lifted his hands from the ground, sees for the first time the starry night and understands abruptly that those stars will remain there when he stops looking at them. It is the moment when death is born, and it is the moment when the poem is born. The poem is the first response to death.
That which we continue to be: that bit of excrement and blood that in its precariousness is condemned to raise up mythical images, stories and tales, to compose symphonies, only because in order to live we must paradoxically raise up images that we will irremediably stop seeing. That sky that will continue there, that mountain range that I now look upon, the Andes, the faces of children; in sum, that total plenitude of the world that will remain when I can no longer see any of it. Because it is what opposes death, poetry is the hope of what has no hope.
It is the possibility of what has absolutely no possibility. It is the love of what has no love.
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Like death, poetry was born with the human and will die when the last of the beings contemplates the last of the sunsets. Friend Reviews. To see what your friends thought of this book, please sign up. To ask other readers questions about Otra Imagen Deleznable , please sign up.
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