Textual Poaching
“I think it says a lot on identity, and who we are and what makes us up-
basically the core and confusion of the human condition.” This is one of the
feedbacks that I received with my textual poaching, this reflects indeed what I
want to say with this drawing-I’m a human being. I felt inspired by Pablo
Neruda a Chilean poet, writer, diplomat, and politic leader, but most
importantly a humanist. I chose one of his books, “20 Poems of Love and a Song
of Despair.” The line written in my drawing is part of this song of despair
that shows the uncertainty of love and how fragile and volatile this can be.
The line “love is so short and forgetting
is so long,” represents current times in which I believed I have already
lost something that I thought it would last. Love is something that make us
feel more humans, and for many, love is something that cannot be comprehended.
Especially the kind of love that a person can receive from a couple from a
relationship. I agree with many of these insecurities and desires of change, of
wanting to move forward and keep looking for love described in this poem.
Although Pablo Neruda expresses very well the disappointments and struggles
that someone may have in the search of the romantic love. I also firmly believed in a lasting love
that makes me feel more human, something that connects with the divine and
inspires me to press forward- Gods love. Furthermore, is the love I can have
with my family as an eternal family. I draw this piece looking myself at the
mirror without looking to the paper, and I portrait different angles and
expression on my own face. This means that there are many emotions and stages
on life, and all this experiences and feelings help me have a better
understanding of my own humanity. I also connect this with the portrait of
Pablo Neruda Nobel price of literature and intellectual eminence that for most
of the time spend time with ordinary people. These people were always his
inspiration, and for me as well, people around me help me shape what I am now. I’m full of different vulnerabilities and emotions that form my character, this is a process that would last all my life. Pablo Neruda explores this idea of being humans, woman and men with different
emotions, and its components. Even though I put myself on a mirror to draw,
Pablo takes me also to a mirror in which through his work I can evaluate my own
humanity.
Tonight I can write the saddest
lines.
Write, for example, 'The night is
starry and the stars are blue and shiver in the distance.'The night wind revolves in the sky
and sings.
Tonight I can write the saddest
lines. I loved her, and sometimes she loved me too.
Through nights like this one I held
her in my arms. I kissed her again and again under the endless sky.
She loved me, sometimes I loved her
too. How could one not have loved her great still eyes.
Tonight I can write the saddest
lines. To think that I do not have her. To feel that I have lost her.
To hear the immense night, still more
immense without her.
And the verse falls to the soul like dew to the pasture.
What does it matter that my love
could not keep her. The night is starry and she is not with me.
This is all. In the distance someone
is singing. In the distance.
My soul is not satisfied that it has lost her.
My sight tries to find her as though
to bring her closer.
My heart looks for her, and she is not with me.
The same night whitening the same
trees.
We, of that time, are no longer the same.
I no longer love her, that's certain,
but how I loved her.
My voice tries to find the wind to touch her hearing.
Another's. She will be another's. As
she was before my kisses.
Her voice, her bright body. Her infinite eyes.
I no longer love her, that's certain,
but maybe I love her.
Love is so short, forgetting is so long.
Because through nights like this one
I held her in my arms
my soul is not satisfied that it has lost her.
Though this be the last pain that she
makes me suffer
and these the last verses that I write for her.
From Twenty
Love Poems and a Song of Despair, published in a new edition this month by
Jonathan Cape
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