The Animal

Death remains a taboo, why bite step. Here, curiously, is white the color of death, as in the tradition of Eastern countries: the white walls / are the so called say / insects and the dead. To return, at the end of the poem, to appoint to the gums, to smell, to the mouth that descarna as a symptom of an inevitable end. The third poem is entitled light effect.

See, throughout this poem, a play of light, as if it were a box, with light and shade, shadows and shadows. There is a play of colours, with whitewashed tombs, white tiles, the Sun, Emerald insects, invisible under the light, the shadow. Guillermo offers us light Kit as if it were a game between life and death, very convenient since it treated these poems of the second part. Us cites the poet: the shadow of the animal and obstinancy seeks to reincarnate. This leads me to questions as the shadow feeds light? Or is perhaps the shadow there light? Perhaps is an evidence noted that if there were no life death would not exist, because death needs life to exist, and life, as we know it, needs the death as his counterpoint. William also tells us how horrible has / right to existence this is a poetic truth, poetic language gets to appoint the dark, affirm a truth that in our society may also be a taboo, a society in which prevailing false images as I said Simone de Beavoir. The shadow could be the mirror where the dead are regarded: when something violently perishes, / his shadow continues even for several years. That permanence of the shadow vaguely remembers the spectral presence after death, rather than the soul, something dark as what desmembraba crickets in the first part of the collection of poems, shadows are like black insects again insects, which seem supernatural messengers that interact in some way with the material world and that, as a representation of the dead, they drink: milk, wine, saliva, alcohol and oil lamps.