{'fraction_non_alphanumeric': 0.026227303295225286, 'fraction_numerical': 0.005379959650302623, 'mean_word_length': 5.1234567901234565, 'pattern_counts': {'":': 0, '<': 0, '<?xml version=': 0, '>': 0, 'https://': 0, 'lorem ipsum': 0, 'www.': 0, 'xml': 0}, 'pii_count': 0, 'substrings_counts': 0, 'word_list_counts': {'cursed_substrings.json': 0, 'profanity_word_list.json': 0, 'sexual_word_list.json': 0, 'zh_pornsignals.json': 0}}
Prison Cell and Key: Scrutiny of the Physical Self in Olga Orozco's Museo salvaje and Gioconda Belli's Sobre la grama

In 1974, both Argentine poet Olga Orozco and nicaraguan poet Gioconda Belli published collections that turned their focus to the body, but did so with widelydivergent portrayals of its relationship to the human form, and, in turn, its relationship to a creator. Orozco’s collection, Museo salvaje, is an attempt to reach something beyond the limitations of the flesh. The poetic voice laments the confines of the human form, which is largely represented as a barrier that inhibits union with the divine. The inward-looking collection narrates the body’s ruptured union from the supreme divine source, and a frustrated inquiry into the body, searching for remnants of this link. By contrast, in Belli’s collection of poems, Sobre la grama, published the same year, the body is exalted for its liberating creative and sexual powers. The poetic voice links the body to the creator’s intent, connects it to poetic creation, and celebrates sexual desire, fertility, birth, breastfeeding, and menstruation. This study examines how the 1974 collections portray the human form and its relationship to a creator. Despite marked differences, the collections converge in their exploration of the connection between the body and a creator, a search for insight and transcendence through something present in the human form, and a thwarted grasp for something beyond the corporeal.