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In just four lines, Cuban Sarduy and trench exposes one of the greatest conflicts of humanity: "There is silence / but / when the Other / talks» . These eight words are the texts of moral Geometry , poems Ecuadorian writer Luis Carlos Musso, recently released by the label Arequipa Bonesnapper Editors. And from this simple paradox about the silence, which serves as a pretext or to fit better with the spirit of the book, "theoretical framework", Mussa called the Muses and a string of references from diverse and varied.
Before entering the field, make a brief digression. In the Middle Ages, was called quadrivium the set of the four mathematical arts, ie, arithmetic, music, geometry and astrology. The quadrivium together the trivium-the meeting of the three liberal arts for eloquence, or grammar, rhetoric and dialectic, "was taught studies universities. This willingness to consider the geometry as an art few people still grow, meaning that far radically from the currently prevailing definition, "Study of the properties and actions of the figures in the plane or in space," according to Dictionary of English . So far the parentheses.
After reading the book, and in line with the digression, it is clear that the geometry is an art to Musso. And most likely with the adjective "moral" is intended to refer to all faculties of the mind, as opposed to physical. Therefore, the title would draw attention to a kind of art whose nature is to address the physical, transcend matter, to exalt the intangible. An art that is opposed to fashion, to the dictatorship of taste, the democracy of the pretentious and the consensus market research bastard. The art, on good account of the uncomfortable. The only one worth remembering and imitating as inspiration.
Structured in four parts, moral geometry has an onset of Eden-like echoes. "The tree of good and mall " The first part comprises eleven prose poems chronicling the arrival of light in a changing world in a solar system that summarizes a mere point. As in the book of Genesis, writing is a breath invincible, and the straight line is the basis for uniting one point to another, but above all, to weave a string of words that aims to be the shortest route to cement certainties and address the silence, nothingness, emptiness. In "Geometry" absent ", the fifth poem, displays the level of sensuality, which somehow had been contained in previous texts. And from here the poet seems to find wall to stop his narrative worth. Every obstacle is the way to go poking itself up and untie strip readings, dreams and geometric formulas. Desires raises the square - "My desire is linked to your desire" (p. 18) - to find results "escape routes, and survive their visions. Even appeals to an endless hourglass in this GRAMMAR OF NAILS. Reminiscent of the circle geometry and spiral shapes of eternal return, which later refulgirán as true delusions. In "Blood split" seventh poem, establishing a line that may mark a before and after "a white and cold ..." (p. 19). And a little later (p. 20) Geometry (sic) is only one sure way to get home. In "Roundness of blood", ninth poem, appears the Ouroboros (the snake eating its own tail) as a mutation of the circle. And the geometry continues to tread on the heels of the strange mixture that results from combining beauty with technology (p. 22), preamble to conclude the first party with "Last spleen", eleventh poem, where stands a line of Soda Stereo in the death drum rotates as the wheel of fortune.
"Secret Storm", the second part of the poetry book, silences the biblical overtones of the preceding section to delve more into the game and verbal extravagance, perhaps the internal jurisdiction of the poet. Musso knows the English language, for in this section leads to risk limits to achieve maximum expressiveness. In "The Blackbird", the first poem, excels the third paragraph by the intensity of the paradox that crimps: "There are more thirteen ways of looking at a blackbird. I know of at least twenty-seven. My neighbors speak of up to fifty-two '(p. 27). This section also shows more concern about the strength of the auction: "It goes on strike the blackbird. There is no trills, no other scar in the sky "(p. 28). In "Foreshortening" second poem, the poet exteriority evident in the entry: "My image and its reflection" (p. 29) - is raised again in extreme sensitivity to the spin of the auction, "to making a terrible noise gate to oxidize "(p. 30). This transition, in the third poem, entitled "Elision" pure visuality becomes: «Y mi hamaca es un péndulo que pare canciones edulcoradas en parábolas de mimbre» (pág. 31), donde el movimiento en vaivén no solo contribuye a cerrar la afirmación precedente referida a la identidad del narrador sino que aporta como quiebre a la figura circular. Imagen que se recompone con mucho ímpetu —y distancia— en el texto “Anamorfosis”, cuarto poema: «Es cuadrado, triángulo, círculo y óvalo sucesivamente. El triángulo es la más augusta y misteriosa de las figuras, pero la luna al garete, como corifeo de los otros astros, nos es íntima y ajena al mismo tiempo». Mussó delinea el conflicto interior de esta segunda parte en el campo de batalla del legendario chess. In "Checkmate", sixth and last poem of this section, a "fire-and-arrow spirals thousands of times before reaching their destination, with a wind tunnel carved in the air" (p. 34), linking this image with an equally intense, but filtered through an obvious but sharp reflection: "After their defeat, the queen is removed from the battlefield."
After seemingly intimate exploration of the second section, Musso cries out to the world, but held in the ten texts that make up the third part of the book, 'perpetual Canon. " The German word Weltanschauung , which translated into English is a world view or conception of the world, as Mussa notes, "is what gives a symbolic title of the first poem of this part. The poet seems to rediscover the different levels of human and poetic reality: "As under the skin of hands, the right, lives the desire to read in Braille next face" (p. 37) and a few lines later brings up that, after all, the world remains a place for moral geometry , where planes or substrates Eden: "The world is a mirror and a blank page." It is from this context that the word artist goes beyond ordinary men but not necessarily a special subject: "... writing is a mirror that reflects only what we are and where we see our guts (the others may see them, exposed as the butcher) "(p. 37). The following text of this part affect a greater or lesser extent, on this basis or promontory that gives artistic creation and other re-levels of human knowledge. This is the new trivium quadrivium and to interpret the peaks and the depths of human nature. For example, in "love Ars I ", there is talk that the words have been given by darning sparks like flint (p. 39) and" love Ars II "a voice establishes a fundamental difference: the distinction between night and morning (p. 40), in "Five couplets" weighs the poetic consciousness and slide the idea of \u200b\u200bcreative limits, "How many pins does not condemn the verse to be perfect?" (p. 41), in "The bird-making machine" is rediscovered moral ambiguity of certain indications or rules: "It dilates a whisper that orders follow the dotted line and not out of line" (p. 44), in "On this rock I will raise my church" stone outside the evangelical joke, the same text as the title to the first section ("The tree of good and mall "), is reached by mysterious figures of the literary tradition very suggestive one final point: "The line continues in free fall: I'm lost, like a rainbow at midnight" (p. 45), which is echoed in the three following poems: "Global Warming", "Sun Tzu" and "Night & night, CIA. LTDA ", in which thematic slang and poetic consciousness are two sides of same coin.
moral geometry closes with the section "Text in ruins", composed of eleven parts closest to the short story that the prose poem, ie, these ruins, these remnants of something big was perhaps also alludes to the narrative format of short, small and short. This ruin has a bad aftertaste to meanness and heritage, including some breath to parresia flies, but this pessimism is quickly dissipated after reading "Beyond the numbers is the world", in which more than (of trees) of good and evil, and look beyond even the appearance-is-being. The poem is displayed as a bad joke, like a brick out of place, as an intervention in bad taste on the blank page as a paragraph of six lines consisting only of zeros and ones without rhyme or reason. But it is a coded message in binary code is not suitable for humans (p. 51). And you read it or, rather, follows with his eyes, despite the warning of the title. And indeed, there is again the world, but not as a worldview or conception of reality for beginners but as a space for learners, or beings willing to err, suffer and die, while continuing confident that all of a sudden, you can turn around to learn more, love better and always smiling. With this entry, it follows a course of poetic reflections of very high-flying, to land on the two final poems of the book: "Poetics with Chinese boxes" and "Short film". In the penultimate (p. 60) becomes, somehow, the concept of moral geometry , but with a twist: everything could be a perverse and monstrous invention, even the reader and the nature of the writer. Thus, Mary Shelley, Dr. Frankenstein and his hideous creature turn out to be baby pectoris. And we witnessed all this, we are not simply the recycling of building rubble out of the culture. In "Short film" (p. 61), final text of the book, is a key story in a screenplay that takes the initial conflict in the emergence of light. The night, always succeeded by the day, for ever and ever, is more than a symbol and metaphor, is almost a certainty that everything will last forever. The day is a new opportunity to the failure even to make the same mistakes and "discover" the same landscape dismantled but it is also the ideal plane to rethink, in correspondence with the title of the book in a full moral geometry , to release the individual in order to follow the dotted line and not out of line.
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