Ana Pérez Cañamares, a poem between pain and hope

It is hope, no matter what, that is born in loss, in destruction and injustice, from which you have been blessed with abundance. “At the Feet of an Old Woman / Suitcases Executed by a Lover”.

You see a world in which everything connects and you feel the implication of everything. It is a universe attentive to others, because they are others of different genera and species, a diversity of series, materials, a broad sense of community.

Here we can decide the poetic vision arises not so much from humanism as from something akin to species naturalismfrom where the story follows a man like us, or even a man: “because the Other is in the same perspective / and the account is not a way // until the third engine of the insect / tree and its bloody texture / blue under the pájaro beam”.

The nature that appears here includes humans and our synthetic beauty, which we recognize as in our family; and the subject must be recognized, which consists in feeling that everything is inhabited. But also wood can function as a correlate of your own interiorpersonal, filled with a voyage, a constant thought. And inside seems to rise the pain of what we said before, the wounded body and the sadness of the thought, as I say Jiří Steinerwhich overflows.

One would think that the fight that is in the conscience and also in the dreams, tototodo forms of thought and it is alcanza sabe amputation of life. “The world can also be broken / the world was fast asleep too / the mountain was full / the gluttony of its depths was planned”.

In this series of open voices, Cañamares brings together a large number of references. Quotations that contain poems, also quotations that are occasionally also included in texts, quotations by name and names by quotation, which correspond to a number of selective affinities with distinct times and places. Rosalia de Castro, Christa Wolf, Enrique Falcon, Rosana Acquaroni…

The citation usually gives a convincing appearance to the writing, but the plurality somehow remains. In this opening and closing of the conclusion, there is also not infrequently the use of the last line in the poem, when it is unread, which seems to look at the final word.

If it’s a clear font, we can decide where Cañamares is regardless of punctuation, even if there’s no problem with the language. The syntagma is adapted to the verse, contrujendo a phrase that is unsettled without sudden politenessThis is what a balanced relationship indicates.

Each part of this note, which is what we call “seronda” in Asturian – it also means late fruit – is named after a region of hojas plants: haz, limbo, envés and nervadura. Preceding each of them its definition, both referring to the day and other, that is, predisposing to polysemic reading of poemswhere to find the meaning according to the interior of the first, as the heart of this day.