microreview & interview: Roberto Carcache Flores’ A Condensation of Maps
[image error]review by José Angel Araguz
Treatment – Roberto Carcache Flores
If I could
I’d be your
therapist,
playing
smooth jazz
through
the morning,
one eye
on the clock,
another in
your folder.
I’d browse
through
all those cries
you scribbled
using watercolors
while waiting
for a ring,
to usher
you inside.
My hands
would shake
in yours
like swarms
of moths
around a
lamp shade
until you
grab a seat,
and look me
in the eye.
*
Reading through A Condensation of Maps (Dink Press), I found myself again and again impressed by a poetic sensibility capable of creating images that evoke physical and conceptual movement. In the above poem, this work is set up by the narrative implied in the title, “Treatment.” The speaker develops a brief hypothetical scene, the short lines driving home the intimacy of the address. While the first two stanzas navigate the title’s conceit strictly, speaking in the literacy of the therapist’s office, it is the third stanza’s turn that brings all this metaphor work to a human level. As the speaker’s hands shake in the you’s “like swarms / of moths / around a / lamp shade,” there is a double immediacy evoked, that of hands in hands, but also that of a dire need for direction. This need is implied in the moth imagery, and presents both the speaker and the you as driven by seeking. The empathy here is palpable.
Similar moments of visceral imagery happens throughout the chapbook. The first stanza of “The Fordham Sentinel,” for example, delivers a line by line revelation, one that develops and suggests itself as the six lines move:
Have you checked your bed
for all your fallen pens?
Did the blue stains
on your sheets
leave bite marks
the following morning?
The result is a compelling and unsettling synesthesia: as a reader, I am drawn into the narrative of “fallen pens” and “blue stains,” only to be startled by the implications of “bite marks.” When these elements come together, this stanza does the work of a surrealistic tanka, presenting a personal and immediate meditation.
In “Borders Left Behind,” Flores’ particular brew of imagery and lyric sensibility come to bear on the political. Here, the use of the word “borders” carries special significance. For a poet from El Salvador writing in English, each poem is an act of navigating borders of expression and sensibility. These undertones course through the poem, charging the meditation of the first stanza with an objectivity that is quickly subverted into the intimacy of the second stanza. The political becomes personal in a moment full of human risk and need for understanding.
Borders Left Behind – Roberto Carcache Flores
Imagine
stamping
a black seal
on a feather
every time
an eagle soars
too far from
its nest
or questioning
a vulture’s
motives for its
incessant travel.
The only borders
we should cross
lie across
the eyes
of two
strangers,
even as
we travel
on this bus,
your head
on my shoulder.
*
[image error] Influence Question: How does this collection reflect your relationship/history with the short lyric?
Roberto Carcache Flores: The collection is ordered somewhat chronologically. The first poems represent my earlier work. Initially I think my approach was much more ambitious. I often tried capturing the essence of places and even bits of history. This is especially true for my “El Salvador” poems, which attempt through longer verses to convey my impressions of different places in my home country. I still look back at these poems fondly, but with reservation.
Later on, I tried to focus on shorter verses and poems in general. Hence, the collection ends with works that only contain a couple of verses and very little sort of context. I think my goal now is to merely replicate a specific sensation or thought, trying to say more with less. It can be something like a type of sigh or the meaning of a certain smile. For better or worse, I now find myself aiming for poetry that is less expressive and more definitive.
IQ: What writers/forms have influenced your sense of sentence, phrasing, and brevity?
RCF: Two specific poems come to mind, since the list of writers who have influenced me is all over the place. The first is a very short poem by Roque Dalton titled “Miedo” or “Fear”, dedicated to Julio Cortázar. The poem says “Un ángel solitario en la punta del alfiler oye que alguien orina.”. The translated version goes something like: A solitary angel on the needle tip hears that someone is pissing. I believe Dalton wrote this poem while being a political prisoner. Either way, it has haunted me since the first time I read it and completely changed my views on how poetry should work.
I stumbled upon the second poem more recently. It’s an odd sort of poem by Robert Walser titled “Little flowers stand in the field”. The poem involves Walser walking through lovely gardens, drinking coffee, and eating jam and butter. Like most of Walser’s work however, the lightness of these verses foreshadow a precipice, a deeper insight into the fleetingness of these sensations. The final stanza of the poem brings everything back to its essence: “Earth is a house with passageways / and rooms where you abide, / it is the storm and stress in it / that hurry me outside.”
*
Special thanks to Roberto Carcache Flores for participating! To find out more about Flores’ work, check out his site. A Condensation of Maps can be purchased from Dink Press.
