Life keeps hurtling forward, bursting forth. It’s spring in California, the jasmine’s come in and the streaky roses. It’s been raining hard all morning; just now it stopped abruptly. Lyn writes in My Life, “she observed that detail minutely, as if it were botanical. As if words could unite an ardent intellect with the external material world.” This is Lyn, vitally observing, drawing it all into relation, the mind and the world, botanical, passionate. Making words hold life, making words as life. “Such that art is inseparable from the search for reality,” she writes.
Graça Capinha on Régis Bonvicino's New Utopia
“what to tongues is denied”
a nova utopia [the new utopia]
by Régis Bonvicino (S.Paulo: Quatro Cantos, 2022)
Ezra Pound's name was the first to echo as soon as I started reading this book. Not because of his political options, since the new utopia is at the antipodes of Poundian fascism, but because this is the kind of poetry that the American poet wanted for his modern epic: a poetry that is "hard and dry". And, indeed, later in the book, in a poem about the emerging fascisms of the present day, Pound and his work are the object of reflection by Régis Bonvicino, the Brazilian author of the new utopia. Ironically, instead of the Poundian "make it new", the poem carries the title "Make it old" (101-104).