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It’s not often that a rainfall makes a rainbow inside me
In It's not often that a rainfall makes a rainbow inside me , the poet evokes initially irreconcilable landscapes. However, as a renowned nineteenth century Portuguese writer would "In art, the indiscipline of the new, its rebellious strength of resistance [...] is indispensable for the revival of invention and creative power.
In this work, the paths suggested by the poet indicate connections that, although indispensable, cause important dislocations in the reader. Each discursive plot is carefully architected and, as a consequence, makes possible the transit through hermetic, dense, and, at the same time, sublime zones.
Beginning with the title, the poet prepares a meeting of the reader with the oxymorons of reality, bringing out the conflicts of a subject captured by the screens - and webs - of the contemporary world. His exercise is not only to highlight the disparities infiltrated in life, but also to turn around the suppression of otherness and the constant brutalization of man.
From delirious normativity to poetic dignity, Ricardo Flores Vidal escapes toward the order of recollection and silence, as opposed to the excessive distraction of modernity. From his first verses, the poet makes an appeal to conscience, declining in a series of protagonists that violate the dilution of the Self.
In the delicacy of his verses, the poet confronts philosophical, political, and aesthetic issues. His main transgression is undoubtedly love - which appears both as the heart of the Revolution and draws the worldview of the one who writes "amorquist" "[...] may all love resist, persist [...]" -, thus insisting on the composition of a work whose orbit is love, that is, a Manifesto to relations with the world, with the Other, and with one's own subjectivity.
The prevalent voices in her poetry invoke the spaces of fruition, extension, and sharing, and the Cave reappears as a refuge for the celebration of poetry and art, making possible the access to an elevated state of consciousness and self-knowledge, capable of freeing man from the chains of ignorance.
Poetry and art appear, therefore, as forms of healing or artifice to ward off the mass alienation of modern life, configuring territories of sociability in which people seek a coziness around the fire of the arts. They are what the poet himself will call a "Colored Labyrinth", after what is life if not a labyrinth which we try to color using, for example, poetic materiality? Like the voices present here, we all have only one to structure the world through the delicacy and affectivity of poetry.
In this work, the paths suggested by the poet indicate connections that, although indispensable, cause important dislocations in the reader. Each discursive plot is carefully architected and, as a consequence, makes possible the transit through hermetic, dense, and, at the same time, sublime zones.
Beginning with the title, the poet prepares a meeting of the reader with the oxymorons of reality, bringing out the conflicts of a subject captured by the screens - and webs - of the contemporary world. His exercise is not only to highlight the disparities infiltrated in life, but also to turn around the suppression of otherness and the constant brutalization of man.
From delirious normativity to poetic dignity, Ricardo Flores Vidal escapes toward the order of recollection and silence, as opposed to the excessive distraction of modernity. From his first verses, the poet makes an appeal to conscience, declining in a series of protagonists that violate the dilution of the Self.
In the delicacy of his verses, the poet confronts philosophical, political, and aesthetic issues. His main transgression is undoubtedly love - which appears both as the heart of the Revolution and draws the worldview of the one who writes "amorquist" "[...] may all love resist, persist [...]" -, thus insisting on the composition of a work whose orbit is love, that is, a Manifesto to relations with the world, with the Other, and with one's own subjectivity.
The prevalent voices in her poetry invoke the spaces of fruition, extension, and sharing, and the Cave reappears as a refuge for the celebration of poetry and art, making possible the access to an elevated state of consciousness and self-knowledge, capable of freeing man from the chains of ignorance.
Poetry and art appear, therefore, as forms of healing or artifice to ward off the mass alienation of modern life, configuring territories of sociability in which people seek a coziness around the fire of the arts. They are what the poet himself will call a "Colored Labyrinth", after what is life if not a labyrinth which we try to color using, for example, poetic materiality? Like the voices present here, we all have only one to structure the world through the delicacy and affectivity of poetry.
142 pages, Paperback
Published February 12, 2023
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