Translated from the Spanish by Adriana Alcina Gomez
what is real is like a desert / an annihilation of the unconscious / because it is an alternative unconscious / what is real is no longer real / it is an imposed double / a ghostlike / image /of the reflection / of a mirror / what is real is this sand / it can be used to build walls / in the same way as it builds glass / we don't even have / the tiniest room / for what is credible / since there is no confrontation / the opposite sets an exact / double / reality is about speculating / it is devastating / it is spec(tac)ular / it is exasperating / it is expressive / you cannot escape from what is real / and there is no room for the Ego / because its resting place/ the dream / the unconscious of the brain / is subjugated / by the oneiric gridded / the magenta planning / of the nighttime anxiolytic / swayed / by complete / motionless calm / from the sleeping pills
This is the image: a man tripping like he is drunk while he walks running away from whom he loves a man as a black hole alone in perpetual self-annihilation a man as an isotope of cesium a man that seems to burn as a comet that flies through the cosmos and that is –as a comet– rock and ice a man as a malignant polyp a man in crisis as an antiquark a mineral at zero (degrees) Kelvin love that in the same manner as mercury quickly gets cold when fire ceases pain that in the same manner as plutonium requires over a thousand years to contract (itself) when it becomes bright red
I look at the sand. I think of its interspaces. I know that Heidegger would neither think of the being of each grain nor of the thing itself of the desert, but of the in between of its being, what lies in between the grains that turns them into grains. And I think of physics, that also studies spaces between two moments in time and I look at the sand again and think that perhaps in a primitive time, preceding time, this desert was just a white rock, of compact plaster, to which someone applied the absolute zero, in order to break up its molecules. And the result is this cosmos of split up/dismembered interstices and I know that it obsesses me because there is the same disintegration within myself
Vicente Luis Mora is the author of the novel Alba Cromm (2010), a work in progress titled Circular (2003, 2007), a collection of short stories titled Subterráneos (2006), and five books of poetry (Serie, Tiempo, Construcción, Nova, and Mester de cibervía). He has won several prizes for his literary work, and has been translated into German, French, English, and Polish. Mora was Visiting Professor at Brown University in 2012.
Adriana Alcina Gomez holds degrees in Journalism from the University of Bilbao and the Danish School of Journalism in Aarhus. She received an M.A in Ethnomusicology from Queen’s University in Belfast, and an M.A. in Spanish Studies from the University of Connecticut. She is the coeditor of Your Danish Life a cultural magazine for the international community in Denmark.