Roca Tarpeya immediately brought to mind this characteristic of tango lyrics. Along its pages, Juan Luis Landaeta also carries out a kind of mapping, an alternate discontinuous one, sometimes disjointed, of a city, Caracas, and a country, Venezuela. This book, like tango lyrics, is a map of sound.Although the poems included in this volume are full of specific geographical references, these tend to be altered until they achieve a rarefied nature that does not allow us to fully cling to them. Throughout the book Landaeta seems to ask himself how it is possible to narrate a violence that does not correspond to the categories we have historically created to describe it: wars, battles, revolutions. Despite the difficulty that this poses, it becomes necessary to tell it somehow, to integrate it to the symbolic. How can this be done? Landaeta builds a parallel, distorted universe that revolves around a hostile and monumental loss, but without describing it directly -instead he articulates it periphrastically, using a kind of left-handed logic.Roca Tarpeya is a book whose amazing lyrical power manages to fuse personal story and collective history, showcasing them through a distorted mirror. As its name indicates, the book orbits around the image of the Tarpeian Rock, that abrupt promontory by the Capitol from which it was possible to see the Roman forum.
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