:: Article


By Roberto García de Mesa.

Translated by Mario Domínguez Parra

The limits of the island lead to the equation of mystery.


In contact with perseverance, the weakening is imminent.


The island is not an object of stay anymore.


It abandons its delirium for comprehension.


Natural machines justify proportions.

The reflection of this involvement articulates contradictions.

All the senses yearn for continuing with the crisis.


The island has come off itself.


The image stands on the expression, in a serial, dodecaphonic advance.


The pupils of void observe the illustrious relation of opponents.

The island appropriates the ocean.

The ocean appropriates the island.


A scenic, poetic revelation undoes these coordinates.

Time has lost its references.

Silence and polyphony fight in movement and rest.

The wind isolates the mythology of the invisible.


The character of space.

The source of this conflict.

It isolates movement.

It isolates the flow of turns.

Of essential repetitions.


The wind delimits the effect of this territory.

Diagonal lines cutting out, expanding the island.


The wind isolates itself.

The ocean isolates itself.

The island isolates itself.


To tackle this void.

To strip grace.

To compress this cyclic force.


The position of the elements announces the loosening of the island.

The exhaustion of its limits.


It is possible to go beyond.

To disdain this poetics.

To detach the object from conscience.


The appearance of limits.

The appearance of space.


This rest before the future, before history.

This microdot inside itself.


Center which is periphery, which is in all its parts a route without borders.

Center which turns around itself.

Center which is circumference of everything.


The composition of the stain.

Of the signals of the islands.

Of this abstract object, without conditions, without real limits.


The diffusion of opponents.


The conflict of limits.

The conflict for the unlimited.


Made-to-measure knowledge of this abstract, post-chaotic annunciation.


Isolated without the essential conditions.

Isolated by mysticism.


Nature of isolation.

Nature of change.

Fugue of void, on the coast, on the doors of this center.


Rehearsal for a conquest, for invading the grace of transparency.


Space’s word.


Harmony of the non-written, isolated from the ocean by stone cathedrals.


Echoes, grooves, emblems enunciating the vaults of myth.

A swarm of silences for such a reduced space.


Unity running off, in the multifarious and in the mystic, in the convertible.


Transition of the invisible streams.

Inside the stone.

Inside the island.

Inside light.


Myth in front of logics.

Logics in front of rhythms.

Writing in front of logics.


The non-written island.

The island of kidnapped myths in the origins of nothingness.

Fugue of the non-thought.


Written in the clouds.

Written because it has not been written.

The instant of mutations.


The movement of the universe in one stain, in an island project, in order to disappear, to be erased by change.


The island, without skin protecting it, offers its body to the bi-tonal impulses of the ocean.

The island drips its thought without flexibility.


The marks of space draw the structure of the inexact.


Void, made of island, of inexpressible, minimal and epic sounds.


Forefront of ignorance.

With the colors of difference.

The colors of sublimation.

In the center of oxygen.

Inside words.


Breathing without life.

Of the stillness of change.

For not distinguishing the complementary spaces of nothingness.


Unity of the changeable in the unchangeable.

The individual in front of what is next.


The island shrouded in logics doesn’t confirm the existence of limits.


For the non-thought, lines fork in nothingness.

For logics, nothingness is thought itself.


Delirium of myth.

Loneliness of myth.


Invitation to space.

To the corporeal mark.

To breathing.

To the ruse of the natural.


The language of void escapes the proportions of language itself.

The island comes off words.

The island comes off sounds.

The island comes off color.

For being a combination of latest expressions, a model without reality, without objective, without beginning.


Condensation of the ungraspable.

Concretion of change.


In the center of void.

In the center of this fugue.


The heights with no limits.

The mystic for rightness.


The island of Chinese ink.

Moulded by the proportions of light.

Without words subduing it.

Come off all laws.

With the object of yearning for the derivation of change.

Without alphabets.

Without margins.

Without conflict.


The ocean sublimates with the island.


The stains drown in the blank pages.

Return to the same light.


The same code without deciphering.


The same image come off without expressions, without fractures, without hues, without brightness, waits for the course of existence, of the new imagination, of the new transit.

It is projected and it transcends towards overwritten nothingness.


Fertilization of void.


Transposition of the unlimited towards the unlimited.

Fusion of one with one.

Production of zero with infinite.


The circular non-thought.


The detachment of opponents.

Of beliefs.

Of all the maps of being.


After knowledge.

After abyss.

After ignorance.

Roberto GARCÍA DE MESA (Tenerife, Spain, 1973) holds a PhD. from the University of La Laguna, Canary Islands (2012). His specialty is avant-garde drama in Spain during the period 1924-1936. Besides, he is a poet, playwright, dramaturge, narrator, essayist, scholar, multimedia artist and composer. Poems: Los pájaros invisibles / Nausinoos (Ediciones Idea, 2006), Oblivion (Ediciones Idea, 2009), Bestiario (Al-harafish, 2010). Plays: Luminarias (Ediciones Idea, 2006), Outside (Fundamentos, 2010). Essays: La poesía en el teatro, la pintura en la música (Idea, 2009). He has edited several works by such writers from the Canary Islands as José Antonio Padrón (Obras Completas, Ediciones Idea, 2007) and Pedro García Cabrera (Proyecciones, ADE, 2008; Epistolario, CajaCanarias, 2009; La aurora sumergida y otros poemas inéditos, Ediciones Idea, 2010).

Mario DOMÍNGUEZ PARRA (Alicante, Spain, 1972) is a Spanish poet, translator and essayist. His first book of poems, Apolonía (Ediciones Idea), was published in 2006. He has translated poems and prose pieces by Modern Greek, Irish, Spanish (into English), British and U.S. authors. As a translator, he has published three books: James Joyce’s Shorter Writings (Escritos breves, Ediciones Escalera, 2012), Maureen Alsop’s Apparition Wren (Reyezuelo aparición, Ediciones Idea, 2011), and N.G. Lykomitros’s Ιχνηλάτες του τέλους (Rastreadores del fin, Ediciones Idea, 2011).

First published in 3:AM Magazine: Monday, July 30th, 2012.