By Candelas Gala (auth.)
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Extra resources for Creative Cognition and the Cultural Panorama of Twentieth-Century Spain
11 He also wants to penetrate what he calls the “trama” [intricate plot] of nature and of all the voices from plants and insects in order to understand cosmic truth. As the young poet explores nature, he sees that all is relative since things change depending on the angle of perspective. While perception opens a wide array of possibilities, it also brings a great deal of uncertainty, as reality becomes more and more unpredictable. In “Hacia la libertad” [Towards Freedom] (Orillas de la luz [Shores of Light]), poetic writing is synonymous with freedom—a major goal in surrealism, but a most difficult one to reach for this poet who is constantly struggling with constraints imposed upon him by his Catholic education and conservative family.
Some critics read this image of the reddened air in political terms as a reflection of Hinojosa’s adherence to Marxism during a period in his life. It does certainly predict a collective revolution in the future to liberate blood—the fluid of life and passion—from societal restrictions. And to complete his prediction, Hinojosa replaces the choirs of angels—which on that final day will supposedly sing the glories of the above—with a choir of voices that “por el arco iris” [through the rainbow] will raise the universal voice of blood, announcing freedom in a new and future era.
What results is the immolation of the poet’s body and language. This poet’s is the voice of consciousness expressing humanity’s plight, a truth that his teeth have ripped from strings tying him to false truths of transcendence. Echoes and reverberations go up the rainbow of freedom— a possible reference to Rimbaud’s rainbow or the colors perceived under the effect of drugs (see Bays 48). The poet’s immolation predicts a collective one in the wounded and bleeding bodies from which blood flows freely.
Creative Cognition and the Cultural Panorama of Twentieth-Century Spain by Candelas Gala (auth.)