Red Door Magazine 21

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X-WRITTEN We feel a more powerful presence / like a fish bowl for our poems that are fish / How many times did we want to grab the stars in the simplest of ways / without any thunder at all to string the poem between the two stars / as if it was just about “indicating” with words / but these days only love defeats us and numerical poems shatter one by one / Not for that / have I stopped writing / not for that / have I stopped taking your lips / in the gesture the reader makes while silently mouthing / Maybe I am reading you in this line / for it is said something happens after crossing this point. / It would be terrible never to think of me as an “a” answer / and dare to chew on a speech for myself only / mine / too much mine / but a leaf has both faces / in the folds new concepts are formed and the rhetoric of things will not suffice as the wall on which it is disposed / You’ve known about this for so long Girondo / realities superposed on realities / Per aspera ad astra / folding in the most rigorous way / origami of the word / brotherhood and mimesis among cultures for in the universe one single mother / Something must be different / we grow up among the foundational and immediate classics of the individual / not from those antiquated monuments / indivisible / from the historic self I mean / but from the sensorial elements of the present / of life now / One afternoon / among the streets of that completely dead city I made a paper amphibian with the text of a speech on protocol / Darío, upon seeing me, observed, “You know, / getting to this place / and now watching you shaping the piece of paper with such simplicity / something told me we had been together in another time... / and / before I wandered these streets / before coming across this promenade of ghosts / in my own house / I had a dream in which someone was practicing origami / then I found out I had already dreamt you” / I don’t know Darío / there are people that we do not know until we make them up / After this moment narrative was no longer possible and we went on with the poem. / Cosmos for death / Chaos for renovation / So how is it that an element of two dimensions acquires that third plane? Even so, it is possible to deduce reality from something we do not see / Each dimension perceives the world in relation to its consequent dimension: / the line perceives the dot / base and height perceive the line / the third dimension observes its surroundings in two dimensions and only understands itself, I repeat, by deduction; / like that time we moved across our flat earth and eventually got to the same place / a line became circle / a circle became sphere / and this poem needs you to acquire its depth / the reader poet and the writer poet, together we become spatial origami / traveling in the interior of language / through worm-holes that twist in pupils like an interrogation / origami over word ships / in the fusion and deconstruction of symbols / Everything nurtures and interrelates with itself / every thing is like a “like” / and the basic engineering of this poem comes from sci-fi: / X-Wing / But more fun than categorization / is accepting the existing elements as pieces of potential new ensembles / technological marvels / literary marvels that go spiraling & spiraling / secular / cyclical without repeating themselves in the same spot / In a way / at this stage of the universe / all form tends towards the destruction of form / towards disintegration in the search for constant balance / so this texts deconstructs, reunites, appropriates and fragments itself / Spatial origami I said / like in those songs where the voices overlap until they are a thick paste / strictly speaking irrational / but loaded, concurrently, with information / I come back to you Darío / I come back to you as a resource / Between dreams and reality there is an infinity of folds / from the word / that names / and transforms itself: 折り紙 / papiroflexia / cocotology / That’s it / I come back to you to get to others / to name them / because poetry ought to be counted among the sciences [...] because science and poetry are nothing other, if we examine it, than a precise naming... / Yes, taking up again that biblical idea of creation through the word / but ultimately / this is not a piece of paper / it is another thing / and those other things will always be at your discretion, and the discretion of the dissolution of the edges / of the piece of paper if you wish it. Translation by Aurelio Meza 50 www.reddoormagazine.com
BY DANIEL MALPICA ISSUE # <strong>21</strong> - TRANSITIONS 51
Page 1 and 2: R E D D O O R ISSUE # 21 WINTER 201
Page 3 and 4: ISSUE # 21: TRANSITIONS Editor in C
Page 5 and 6: y Mercedes Roffé ISSUE # 21 - TRAN
Page 7 and 8: You know You won’t know You’ve
Page 9 and 10: JULIE O’YANG is a Europe-based po
Page 11 and 12: Aleisa Ribalta (Havana, 1971). Born
Page 13: MYMAJO says that art is the easiest
Page 16 and 17: SAMUEL GREGOIRE TRANSLATION BY ELIZ
Page 18 and 19: A time of endings (after Ezio Bosso
Page 20 and 21: Heart’s Migration Move deeper int
Page 22 and 23: WITNESS ECUADOR’S UNREST 22 www.r
Page 24 and 25: 24 www.reddoormagazine.com
Page 30 and 31: Photo by David Diaz 30 www.reddoorm
Page 40 and 41: THE HOUSE THAT JAN BUILT BY BRANDON
Page 42 and 43: The house that Jan built is made fr
Page 44 and 45: GIVE IT TO THE GRAND CANYON BY NOAH
Page 46 and 47: TIDAL ECONOMICS --- SELECTED POEMS
Page 48 and 49: D A N I E L M A L P I C A 48 www.re
Page 52 and 53: t h e N E O N R E B E L L I O N 52
Page 54 and 55: There is no reason for any of these
Page 57 and 58: ISSUE # 21 - TRANSITIONS 57
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Page 61 and 62: 21 D R E Red Door Magazine releases

Red Door Magazine 21

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