Pura López Colomé and the poetic reverberation of the senses

MEXICO CITY.



Cwhen publishing Suddig Imago mundi, the poet Pura López Colomé (Mexico City, 1952) explores the many faces of silence and memory, of reverberation, of echo and of music rather than words. It is a collection of poems that describes several metaphors about the five senses of man.

The volume, which will be presented on December 1 at 35 FIL in Guadalajara, is inspired by the cosmographic dissertation World image, written 1410, by the French theologian Pierre d’Ailly.



I look at it from a spiritual point of view, where I see five continents that are the five senses. But poetry, which is absolutely indefinable, is in the memory -which is the epilogue to this book-, and from there I put the telescope to observe everything that the senses have given me in this life, which I will turn 70 next year “, he says in an interview with Wood wool.

And he adds: “All poets are in the same search. I wanted to get in touch with the echo from each of the senses or in reverberation, which I explain at the beginning of the book, in some cases there is an echo and in others, reverberation ”.

In his book, reverberation is “a sound phenomenon produced by reflection, which consists of the weak duration of sound when the original source has stopped emitting it.”



While echo “is the acoustic phenomenon where the repetition of a sound occurs when sound waves collide with an obstacle and are reflected until it reaches where it has been emitted.”

Why does he refer to the blurred image of the world? “It is blurred because it is a human perception, and all human is a fallen angel striving to get closer to the divinity that he felt equal or equal.”



Does your book start with the sense of hearing? It is my main sense of perception, because it captures the music and this, to me, continues to be the proof of the essence of God; it is our quest as poets to approach the manifestation that arises from music, and for that reason, I think, there is no poetry that can be called so, but music ”.

The swing that my poetry has had, from the lyrical tempo to the prose poem, must have a rhythm and a certain music. And if it did not, it could express its own reconciliation. But as Ramón López Velarde would say, every time I think I’m expressing everything, a crashing demon throws me back in the mud, ”he points out.

Is memory the key? “Without memory there is no poetic expression, because there is no word either. Words must be remembered and memory is important.”

Nourishing creators such as Manuel Ponce, Wallace Stevens, Emily Dickinson, Seamus Heaney, William Carlos Williams and José Emilio Pacheco, López Colomé questions why certain poems are more easily memorized.

Maybe because it’s a music that is embedded in my absolute memory, that is human, feminine and Mexican, that is divided and begins with important events that question the cause of our existence and that also have to do with death and death. Death has always been important in what I have written “, he explains.

The poet remembers that in her childhood she became obsessed with the word “the Apennines”. “It was one of the first words I ever heard at home. And I used to repeat” Apennines-Apennines “, not knowing that I was naming mountains. But the moment I found out, I also discovered the Wuthering Heights and how we have to throw ourselves from these heights to understand the meaning of our lives ”.

Finally, he assures, “in all these poems that I wrote for a long time, which distinguish those that produce echo or reverberation, the word reminds me that the present ear is there. The hearing is in sight and in contact.

In this poetic and sensory exploration, he discovered that each individual can have a preferred mind. “I’m sure all the people you know know what their privileged meaning is. Maybe you’re more visual, auditory or sensory. I gave the ear the privileged place, but when it comes to recognizing it in memory, I’m no longer so sure. “The only sure thing is that in the end we will all go to silence.”

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