The words have something of tectonic movement contagious able to blow it-that-was-there. This could be the lesson to be learned from the first book of Pablo Lopez Carballo entitled, appropriately, on ruins found. Because, what are these ruins with which the poet finds himself or for which the poet presents to us? First we could say that it is the language. The poetic construction process presents the following: the acceptance speech of ruin, a ruin that is not end of anything but a starting point. This ruin of language is not the destruction of meaning, but the search for meaning forever unattainable. We could say that this idea of \u200b\u200bthe narrator recovers John Cheever who regarded the destruction as the starting point of imagination. However, destruction, ruin, we find in this book has nothing to do with a useless aesthetic nihilism nor a maudlin melancholy of loss. On the contrary, these ruins are always probing. Hence, if the language is doomed from the Building, this language is tied neatly with a look able to see again. The act of looking, searching tirelessly, would be one of the main characters of the book. "Pretext eye" is the title the first section of the book. The eye is perceived and sensed the reality before giving a rational closed. The eye as an animal that is undergoing only his instincts. Thus we see in verses such as "Looking into the poem / to trip that is vertical or almost." This was an old romantic claim: see for the first time with the child's eyes. However, the innocence of this claim is no longer acceptable. It is not possible or advisable to return to the Adamic. Theirs, however, is a stained romance reality of pretexts. Interestingly comes to names like Wallace Stevens and his poem "American Sublime." Stevens was a master of reinvention of romance. Wallace Stevens wrote: "The romantic poet today is someone who lives in an ivory tower, but this tower has "a remarkable view to landfills and neon signs of the Salsas Snider, of Ivory Soap and Chevrolet cars, is a hermit who lives alone in the company of the sun and stars, but claims that serve the newspaper infectious ". So the poet is not enclosed in the eye but, as drawn in the second section, "The Ice", the landscape and the possibility of full abstraction are the protagonists. Look out. In this second section of the eye, the eye as a hunting tool exits. The third section, "Current" as if it were a dialectical process, we put back into the orbit of the eye. It would as a boomerang effect. But the return trip has transformed the viewing subject. Thus, the poem that opens the third section reads: "Looking at yourself again create / unknown to the outside / in apparent start / continue to leave out / re-enter to receive the wind / change skin and eyes / a different color other wilderness / track, and the deserts are born. " Could read this book by Pablo Lopez Carballo as a travel book, where we do not find stories, but inquiries about the look and construction of reality through language. And, of course, language as protagonist forces the poet to establish a different dialogue with him, trying to find in each poem that boundary between words and hide. A book full of findings from a delightful ragtime, situations where the language is moving like an eye but not to reproduce what you see but to draw the very act of looking.
(published here )
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