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Exegetic Dissonance in Pureza Canelo’s Dulce Nadie

JAcqUes Lacan’s illumination of the search for the authentic self provides an appropriate theoretical base from which to investigate canelo’s poetic representation of subject (implicit poet) and object (other). From her first volume Celda verde (1971) to Pasion inedita (1990), the implicit poet keeps close company with a silent interlocutor (“tu”) whose primary role is to pay heed to the poet’s metapoetic misgivings. since the ‘exchange’ focuses exclusively on the creative process, the interlocutory presence may appropriately be deemed a ‘creative other.’ Following Lacan, one could say that “‘the subject’ depends on the signifier [the poem] and ‘the signifier’ is first of all in the field of the Other” (Four Fundamental Concepts 205). Moreover, the poet, in her constancy to the Heideggerian notion that “poetically man dwells” (Poetry, Language 209), views the other’s field as a dwelling place, which she configures, successively, as a house in Habitable (Primera poetica) (1979), a ‘circumference of grass’ in Tendido verso (Segunda poetica) (1986), and an apse in Pasion inedita. But with No escribir (1999), her regard for the field of the other diminishes, and in Poetica y poesia (2008) she concludes: “Todo ha sido una carcel de dos y en ese deslumbrar de esferas esta ciega mano deshaciendose” (55; my emphasis). Thus, the partner with whom she had “moved, danced, and rolled on the floor” (“con ella me movi, dance, me tire a ‘los suelos’” [55]), especially in her middle works, abandons the poem. The split apparently mutual, canelo declares in No escribir her decision to “sortear la cita con el lla-