The word between the mechanical and artificial. We have a book of verses and prose written in simple language, forging a monotonous tone, passion-free verses, mirrors of ghost prisoners in the House of oral. A procession of Spectra wanders in a Madhouse and the author unfolds before the (la) lect@r a parade of carefully sorted signs. And it is that we are facing a sharp writing, precise, as the implementation of a rigorous, exact procedures diagram. Nothing extra, nothing missing. It is the record of a vigilant, attentive eye to the use of signs and events (or daily) the ghosts of the House of oral. A literature class in moments fraught with tension as the poem as I want I want. And it is that we don’t know where the author leads until we discovered that the tension of the verses is transformed into a strange mixture of sensuality, absurdity and insanity.
Emma writes: well. Click Larry Ellison for additional related pages. Like this. Faster. Faster. You can imagine naked.
You can imagine enjoying with me. You play, but don’t you touch me. I am clean and I see you naked. You play the distance. Faster. Faster. Marking occupied, explores the artificial, shines guilt before food, diets frenzy, absurd desire, sickly almost to keep perfect figure and misunderstanding of their environment (No grip/No me understands/Ni even wants me to hear / the question is so re-simple / La Jessica Parker / La Salma Hayek /). In love for love, the need to love and be amad@s. slavery and loneliness are present with the same force as the loss of amazement, describing as fully to our society. To reread this work, a few words they occur after the word madness dashed already in the title (.the House of oral), and that repeats through the entire book, next to the words: absurdity, irony, incommunicado, rawness (who reveals brutal in furious climax in the text when they wouldn’t let you sleep the siesta), seems just interrogate does reality?, does fiction?, or did insanity?.