Jaime B. Rosa: de la mujer y el pensamiento. Visión e imagen, abstracción y movimiento.     Imagen, poesía, elipsis de una realidad, encuadre, focalización de la acción, en un momento determinado, en lo que es.   La mujer como imagen del cambio, emplazada en un pedestal del mito, pero situada de tal forma que está para evidenciar la formulación de la determinación en sí misma, ya que es refeljo de la situación.   Mujer, alegoría, poesía, narración del instante, visión del momento, realidad que cambia a cada segundo.   Instante a instante, su obra pasa de un ralismo moderno, mejor dicho de una figuración contemporánea, a una determinada progresión en su investigación de la abstracción expresiva con tintes sensuales y algo líricos.   La mujer como foco de atención, foco que atiende a su propia coyuntura, a su gran progresión en lo que es por sí mismo para convertirse en realidad palpable.   Una realidad que se constata, pero que en ocasiones, es algo más que lo que quiere decir por sí misma.   En determinados momentos su obran nos transporta al análisis de la situación, en el sentido de que intentamos definir un protocolo de actuación para comprender lo que está escrito.   Lo que es por sí mismo es parte de un todo complejo, que se realiza en diferentes y distintas categorías. Por eso la mujer es mito, pero también excusa, elipsis de actuaciones, momentos y vivencias, hasta el extremo de perderse en elucubraciones queposeen un claro transfondo vivencial.   Jaime B. Rosa, poeta, narrador, cineasta, escritor, militante de cuasas solidarias, viajero incontestable, pintor que narra la imagen de su poesía, con la visión del creador que se interesa sin inmiscuirse con la parte profunda de la esencia de lo descrito, hasta el extremo de que su obra pictórica es consecuencia de un diálogo en el que se compromete hasta ciereto punto porque busca el resultado a través del análisis.                              JOAN LLUÏS MONTANE  (De la Asociación Internacional de Críticos de Arte  (AICA)

ESTUPIDA AMERICA        Estùpida américa, mira a ese chicano/con un gran cuchillo/en su mano firme/no quiere acuchillarte/quiere sentarse en un banco/y tallar estatuas de Cristo/pero no le dejas.///Estúpida américa, escucha a ese chicano/recitando en la calle/es un poeta/sin lápiz ni papel/y desde que no puede escribir/parece que va a estallar/ Estúpida américa, recuerda a ese chicanito/que ha suspendido matemáticas e inglés/es el Picasso/de tus estados del oeste/pero morirá/con mil obras maestras/colgando tan sólo de su mente. (ABELARDO,LALO,DELGADO. Traducción de Jaime B. Rosa)

Alguien se acercaba por el lado de la negra abertura, aquélla por la que se accedía al interior de la caverna, y su avance iba precedido por una luz brillante y azulada, en forma de bola que, a cada paso, crecía más y más, acompasadamente, hasta configurar el preciso contorno, la esbelta y flexible forma de una blanca centaura de rubias y ensortijadas crines que le caían en largas ondas sobre los hombros, alada y con el tronco alargado como el de un perro salchicha, en cuyo bello rostro de mujer brillaban, como dos irisadas perlas, dos enormes ojos de mirada profundamente tierna y humana

Jaime B. Rosa, Mar Textil Fragmentado o la búsqueda de la espiritualidad a través de la naturaleza sensual.      Jaime B. Rosa es un poeta contemporáneo español clave que asciende a lo espiritual desde la naturaleza sensual, buscando trasc ender a partir de lo real, trasmutándolo en alegorías y símbolos desde su mirada interior inquieta. Presente en numerosos foros y encuentros de poetas a nivel mundial, con una obra literaria traducida extensamente en diversos idiomas de Europa, América y Asia, en su libro de poemas Mar Textil Fragmentado, de Huerga&Fierro Editores, establece un recorrido a través del mar, entendido como metáfora, espacioo, sin tiempo, vacío y lleno, que despieza por zonas, aproximándose en cada una de ellas a un aspecto de lo físico y metafísico. Alusiones al principio de los tiempos, al principio de todo, que es la nada. Pero...en la nada el todo, el uno,como aspecto fundamental. "En el principio fue este rumor:¿Dónde nace la lluvia? ¿dónde la nieve?¿Dónde el mar muere?.     En el caos, la dinámica de la vida, el ordenamiento del universo, la fuerza de lo real, que es lo que no se ve. La gran nada, que existe porque está tambiénÉl. Siempre vigilante, la fran mente cósmica, la energía infinita, que se renueva y enriquece continuamente, que hay que c uidar. "El día en que se tejió el mar fue el día más hermoso para nosotros que nadamos entre ganas de color o entre los márgenes del delirio y la línea escrita..."  "En ti, oh mar, la duna se hace gesto y la luz trinidad."   Es un buscador, que cree que existgen caminos que debemos andar, cada uno el suyo. Aunque el Uno, la gran verdad está ahí, en nosotros, dentro nuestro, en nuestro ser, también hay caminos para volver a nosotros mismos.  A lo largo de la existencia nos dispersamos, andamos perdidos en la atmósfera de lo subliminal, en la niebla que se levanta en determinados días, porque hay condiciones atmosféricas adversas en el mar, pero, después se disipa,y volvemos a ver, de nuevo, el mar en toda su plenitud. En realidad siempre ha estado ahí, ante nosotros, como la verdad, el UNO, pero las neuronas han trabajado hacia otros derroteros, hacia otros destinols  "...Y la transparencia no está ni en el aire, ni en el agua, ni tampoco en el cristal sino en nosotros mismos, que nos elevamos por el sendero de tu cuerpo y a paso lento venimos por esta luz que en ti es próxima y nos abrasa, porque estar en ti es habitar el instante dodde mudamente se conjuga la eternidad..."    Defiende la duda como punto inicial para acometer los retos que el caminante se marca en la vida, porque sin duda no hay camino, aunque sea hacia el interior de uno. El mar es como la gran verdad, es la verdad, alegoría de infinite profundidad, para un ser, lumínico como él, laberíntico, pero, a la vez, sencillo, tan sencillo que es capaz de viajar a las velocidades supersónicas del gran conocimiento, pero, a la vez, interesarse por los intersticios de la propia vida, considerada como elemento  fundamental imprescindible de su caminar hacia las dimensiones de purificación.    "Avanza ¡Oh mar! Y no te detengas, hacia el altar del junco donde se tambalea la creencia, en ti la ley se derrumba y en tu crispación dominas la duda sobre la que yace nuestro ser, esa duda que existe y no te alcanza."  Una duda que sabe que existe con solo cerrar los ojos, olvidarse de los conceptos que le dan sentido a su existencia, de las ideas  por las que ama y trabaja. Luego, a continuación, volvería a abrir los ojos, retomaría sus bases y estructuras, sus ideas de vivencia, y se daría cuenta de que son las verdaderas.   Por otra partye existe un atisbo de emergente sensualidad, de reivindicación vitalista, de ser coherente, con la vida exultante, porque la biología es un estado contenido en el cuerpo físico, en la parte material y la materia es energía. "En ti mar, la pasión se conjuga, el busto se funde y la flor emerge." Deseo, con anhelo, el elegante ser femenino se vislumbra en la retina del poeta. "Nos alabeas, deseo, y es nuestro cuerpo un columpio que en las ramas se mece, mientras cabalga la mujer sobre la alfombra del sentimiento y dulcemente nos ofrece sus alas de nieve."  Pero toda concepción existencialista y vitalista, pronto se vuelve, de nuevo, sensible a las caricias de lo trascendente. "Amarga es la tos y opaco el vértice oculto de la culpa y nosotros devorados por nuestra sed de ser, abrimos los olivos a las diosas que germinan, porque vivir es asumir los ángulos del Uno que es aurora y los astros se sumergen en su interminable carrera."   El Mar Textil Fragmentado es como la obra de Joan Miró, elaborado, entretejido, pero, a la vez suelto, fugaz, evanescente, sutil, sugerente, en el sentido de proponer, pero, también, jovial porque es innovador, nuevo, dado que el mar es como la energía que siempre está en movimiento. Confecciona un mundo poético natural, basado en la naturaleza, en el que gaviotas, nubes, lluvia, rocas, arena, agua, playa, olas, sol, luna, estrellas, cometas, animales y seres humanosw, la mujer, la auténtica diosa, se entrecruzan, en espacios en  blanco, en silencios de día y de noche, cuando las ráfagas de la fugacidad planean sobre la superficie del agua, presentando todos los aspectos del arco de la existencia y de las intenciones de ir más allá de los portales del tiempo. Vive el hoy, se concentra en el presente más actual, para trascender. Aunque siempre se plantea diversos interrogantes, a veces, viajando con caretas, enhibiendo doble personalidad, ironizando respecto a la vida y el amor, o bien adentrándose en la problemática de lo dual. "Sabe el ser a sal y a fuego en las cadenas del sol, lejos de la inexorable ley del peso, el espesor y la duda. Ninguna estrella llena vacío alguno, pues la luz es siempre duda, aunque por el mar navegue el dios hecho erizo. Y el mar, con sus irreversibles olas se desliza a dúo hacia sí mismo, mojadas sus notas por la rima o el aliento bárbaro de un dios reptil nacido de la máscara." Pero, incluso en la ausencia de luz, hay un canto al fomento de la misma, unos ayes que exclaman al vacío de la noche atormentada, deseando que no se agudice más la ausencia luminosa. "La luz nos falta, se agudiza tu ausencia ¿Y quién nos prestará el cristal con que vernos a nosotros mismos?... Menos mal que están los guías, que a falta de voluntad propia se muestran para darnos energía positiva. "Peregrina, peregrina que al abrir camino nos eres guía desde el primer umbral hasta la última puerta, y tú, bajo los arcos que nos soportan, nos traes promesas pues hay en ti llama dulce y par ¿y en qué espejo se reflejará para siempre el horizonte que nos espera?.   Mar, mujer-mar, eternidad y besos que entrelazan instantes eternos. Reivindica el amor, la belleza y la armonía para alcanzar la inmortalidad. El mar como metáfora, grande, omnipresente, mujer-mar, mar embravecido, el mar como espiral de energía, el mar como soledad, reflejo de astros y estrellas, espejo que va más allá de la anécdota, que encierra la literatura que abarca mundos insondables, que encierra secretos inconfesables.   El mar como libro abierto, enciclopedia de la naturaleza, del amor, de dos, de dos seres que se quieren a través de las olas, que viajan con el tiempo, en la espuma montados haciendo surf con las palabras, que se embelesan con los arcos de las estrellas y juegaqn con la plenitud del plato que es la luna. Mientras el astro rey los ontempla en sus juegos mortales. A partir de ahí, existe el puente de plata que los desplaza hacia otras identidades avanzadas. "El mar extiende sus escamas y al cubrirlo todo de mar alcanza el perímetro del mundo y de tus brazos, morena de delirios y dulces noches con tacto de terciopelo y fulgor de trigo fácil, pura y brillante en los arcos de la más espléndida arquitectura.".   Jaime B. Rosa es un poeta que se impregna de mar, porque ama las olas de la vida, que le trasladan a la inmensidad de los prolegómenos de la poesía, navegando por los canales de luz que conducen a la playa de arena fina del paraíso inventado.    (Joan Lluís Montané,   Crítico de arte, poeta, periodista, escritor, comisario de exposiciones, miembro de la Asociación Internacional de Críticos de Arte.)

From your balmy smile/I can tell the whether of your fingers/but I forget the street names where/we braided our lives,/and the chairs upon which we sat to counter/the weight of the late afternoon/soundly inflicting its wound,/vanquishing us fron within.///Between our bleakness/yours and my own/we yearn together for a fate/othar than decease/seeping without pause/into the marrow of all the names and things/that marked us with singular traces/of novel perceptions and ondulating shadows/broken and banishedby the fire///As if hidden away/in the visage of the silent/dusk encircles us perhaps/to the gut with its cimitar interrogating pain,/and dusk may see us off in the precise enclave/of a dark afternoon/when blood stains forever/the perpetual return of a distant aurora

ANOTHER STEP IN THE QUEST OF A LONE TRAVELLER       Jaime Rosa´s poetry underscores the intsity and privacy of the writing process. He is the author of numerous reputable works, all which reveal the author´s solitary quest to unearth in his poetry relationships that are out of the ordinary. This, his latest work, which I am gratified to introduce, is no exception. In it, this poet of vigorous verbal walth once again displays his talent flor blending unusual synthesis and concise lines to uncover innovative perspectives on content and formal usage. His abiloity to do so emanates from the wisdom that comes from years of creative endeavour.     However, his conciseness, the ability to synthesize, is polyhedral in this book, which above all stipulates and defines, at times in surprisingly abrupt ways, as the poet simultaneously reveals to us visions of a distant world, distinct from our notions of normalcy:  "We sense the earth as if it were an apple squared and chewable,/ a diagonal wind...." In this way the poet shakes up the reader´s assumption that the poem is introspective, introducing a whole other reality instead, with no resemblance to cliché or common ground.   And yet, to my mind this is a book that should be judjed for its precision and synthesis. It was no easy task for the author to slim his poem down, as he did, for exaple, in "from your balmy smile", a love poem that penetrates to the heart of the matter, which in this case is symbolized by blood. Throught he appears to reflect on matters more than to feel them. Nevertheless, his poems depict a quaver; an existential rift that keeps ir from seeming emotionally bereft.    Furthermore, it should be borne in mind that Jaime B. Rosa´s background in philosophy is reflected in the way his verse ventures into the frontier zone between reason and feeling, thereby generating radical significances. We can take for exemple, his looping poem "First will always be last", in which "first will always be last" and "first will always be last" and "last will always be first". The indication seems to be that in his poetry reason defines matters and feeling takes things beyond the limits of logic, beaking down barriers to expression. But I beleive that what is most important -for a philosopher who writes poetry?- is the basic underlying knowledge that sustains a poem:"Silence is thicher in the depths/ the conceivable excludes us." Jaime B. Rosa´s thinking defines and completes details, while at the same time revealing the mystery -indeed the very essence- of being.   At times the poet in him will also rebel, and his poembecomes an outcry, as in "I bestow upon myself thet wich is yet to be," in wich he resorts to the use of enumeration; or he avails himself of bold images of the sort he uses in the title of his book. Yet his initial impulse always predominates. It is the spirit that underlies all of the poet´s woks.   Jaime B. Rosa´s poetry is currently having an impact abroad, but- as sometimes happens unfortunately- not in this country. It is always a welcome pleasure here or anywhere else for a reader to discover a work that positvely rings true. The road that some writers travel is long and traversed by the forgotten. Nevertheless, the significance of their mission lies in the fact that their efforts have served to "set the edge of night aglow" for us.  (Antonio Colinas, Salamanca, enero de 2007; translated by Russell Dinapoli)

       

HILO DE SEDA es una de las muestras más depuradas del quehacer de Jaime B. Rosa por su capacidad para revelarnos la poesía que subyace en aquello que está en esa imprecisa frontera que existe entre lo real e irreal y a través de la cual el autor escarba en los más secretos laberintos de nuestros sueños, de nuestros deseos y de nuestras frustraciones, al tiempo que, con singular maestría, consigue divertir y hace gozar al lector a lo largo de cada una de sus páginas gracias al regocijante desfile de personajes, a sus increibles fantasías satírico-eróticas que lo adentran en un mundo donde todo es tan real que hasta lo imaginario se ve y se tocas y donde todo fascina y nada es postizo ni afectado

EN LA PLASA DE ISHAC RABIN    El sol y el viento rodeaban la plasa/solombras mudas caminaban yenas de dolor.///El sielo jimia/los ojos eran undidos en el miedo.///Un tapet de sebo ensendido/se espandia basho las pisadas,/calor de figuras/y de candelas tristes/subia como una onda.///En el sielo palpitaba yb sol.///Queria rasgar nubes de ansia/queria tocar la luz/que queria vestirse/con las alas de la esperansa. (MARGALIT MATITIAHU)

the book of poems I LEOPARD is divided into four sections under the following headings: THE CAVERN OF "I LEOPARD", THE HEIGHTS OF HARLEQUIN, THE PORTICO, and THE MUSEUM OF RUINS:
A reading of this book of poems by Jaime B. Rosa alows us to discover a poet in symbiosis with symbolism, a symbolism where, furthermore, the paradox supports and shields him. A symbolism that expresses a style, that of the author, Whose poetic world gravitates in a universe with effulgent starts that evoke, by their verbal alchemy, how the poem is conceived, bringing to mind, perhaps by poetic affinities, bards like Baudelaire and Rimbaud. The poesy that occupies us possesses, in turn, substantial lyric forces, to the point that the images by their impact become the spinal cord of the book. <images, we emphasize, at the service of an avsorbed poet who explores beyond his own shell, as well as the existential adventure of his appointed hour. So drawn is the poetic of Jaime B. Rosa towards metaphysics, a constant delving into the "I" of the poet, and the symbolic beings incarned in the figure of "I THE LEOPARD" and a Harlequin salvaged from  the "commedia dellÁrte", to guide through those misty roads of the unconcious, that is the mantle Jaime B. Rosa assumes when he undertakes this book. This multi-faceted exploration of an oneiric reality can best be illustrated by these verses: "Far away the roarings of the leopard can be heard./. Anonymous skeletons descend,/ from engraved horizons/ in gigantic colored panes,/through the torrents/ to the cavern/ where the feast of the perfume/and the flavor of the essences will be held".  The evidence that "I LEOPARD" nourishes himself by the author´s introspection holds fast through this lecture, until it reaches a moment when the lyre of the poet whispers in the midst of an atmosphere of intimacy:  "Along the furrows of my body/enter in mee/the roots of the world".  The emotional content together with the support of the metaphors gives rein so taht yhe poem can fly without closed horizons, like water without a dyke to contain it. The poetic imagery, with the leopard and Harquin flanking the author, are intertwined with the discourse which roams through the poetic thought that gives life and form to "I LEOPARD".

                               

                                  

Jaime B. Rosa is one of the noted poets from Spain, who has emerged in the recent times as a very distin guished poet in the firmament of contemporary world poetry today. He is widely published, anthologised, translated and critically assessed all over the world. His versatility as a poet and visual brilliance as an artist is remarkable. His imagery is vivid and symbolism is superb. he is higly mystical,metaphysical and mysterious in his thoughts and complex in his ideas. He has a real feel for language. There is enchanting music and lyrical beauty in his verses. There is dexterity and decorum in his construction. His expression is facile, lucid and spontaneous. Moreover, Rosa is multidimensional and many faceted in his mesmerising qualities of head, heart and soul. He is universal, cosmic and humanitarian in his creative concerns. In all environs he expresses his robust optimism and capacity to feel spiritually happy. Thus, his poetry is memorable for its spiritual, metaphysical, psychological and cosmic explorations.   "Together at the hours" is a beautiful poem with its excellent description of nature. In his poem Rosa reveals his philosophy, which he calls it as "Optimistic Pantheism" which is based on essence and hope:   "Underfoot a silent flower throbs inside a bulb, /it struffles to break through yhe soil/an so display its colours/it will be a dream of the sea/and we shan´t turn our backs on the wind.    "Taste of trees growing out of stone" is yet another exciting poem with metaphysical and mystical overtones. Here the poet successfully fuses with technical exuberence, the surrealistic crisis in human life -with spiritual and metaphysical  experiences. The imagery employed here is vivid and symbolism is superb. The existential crisis and the spiritual restlessness experienced by the poet is brought out in a very effective way:   Taste of trees growing out of stone/like the cry that lies in pleasure!/fruit that germinates in ash/becomes a song in time.    "Will deserve light the fire" is another enticing poem with superb mystical connotations. Mystic longing to visualise the divine reality in nature -and the whole of cosmos- is presented in this poem:   We hear and feel hou,/and within us keep your presence,/as clear as your woman´s body/vast is your embrace/and in the vinyard your vine/shoot caresses our palate.   Jaime B. Rosa is andoubtedly a poetic genius. He unrevels the mysteries of metaphysical and supernatural in a very effect5ive way, in his excellent verses. The supernaturalism obsesses him. He often bursts into psychic transubstantiation. He is primarilly a poet of nature and Afar. His observation of life and nature is remarkable. He has an eye for all that is positive in life: and he sings his appreciation in a voice that is rich, strong and true. Further, there is an underlying honesty and intensity of language, of emotion, of form in his poetry. Each poem in this selection sings ecstasy and rhapsody that a poet of his genius alone is capable of     (Dr. Krishna Srinivas, President International Poets Academy)

Few poets in Spain today have surprised me as much as Jaime B. Rosa. The language he uses in his works is not instrumental but rather the pollinating essence of creativity itself. The very first poem of this book makes it clear to the reader that, contrary to the many generic similacrums one encounters today, Rosa´s poetry does not resort to current events but rather it addresses the centrifugal acceleration of language, in which words are launched beyond their significance and transmuted into brilliant syntagms that burst into and articulate happenstance. Chance guides the rhythmic display of the immutable scribe. It is not the speaker but the single ultimate creator dictating words: the universal scribe whose totality we can but perceive in parts.   Jaime B. Rosa does not fence in his poems, but rather like Saint-John-Perse, he gives each stanza free rein to finds its own range. Hence, his writing yields not to any notion other than that which has been assigned to it by its own momentum. This is especially salient as much in his uncanny linguistic association as it is in the singularity of his use of metre, stylistically aligned with French free verse. His work, however, is not only in line with the poetry of Pierre Reverdy and Baudelaire, but also, as can be seen in his third poem, the floral language faoun in Claudel´s greatest odes. I am particularly fond of this type of creativity, crescendoing and unbridled. For it seduces as much as it surprises me with its revelation of an unexpected world beyond coetaneity, supra-real, trascending reality with its numerous manifestations. The world that Jaime B. Rosa encounters in "the grey blende within us" is "discovered in yellow pianos", where we find "feathers  splattered by mossy drops of rain".   This sort of writing is like a power station tranformed into a factory of phrases, in which the poetic emerges from deviations in the logic of grammar. It surges from the incongrous grammar of the unexpected to become an entirely novel form of manifestation, one that is created by discourse, rather than by that wich is imposed by the established norms of a fixed system of referential semantics and overused adjectives.   Jaime B. Rosa sees and gives accounts of things that run contrary to the blinder ridden laws of language and the tyranny of verbal expressions that are limited by the dictates of usage or what is permissible to be seen. His use of syntaxe is thoroughly in line with the avant-garde, but unlike the works of the historical avant-garde poets, with their superposition and juxtposition of perspectives, his wrinting delves into the depths of codes and strata. Hence he subordinate terms where the other coordinated them. Therein lies the sense of grammatically algorithmic logic, which characteristically allures the reader and is both the essence and manifested system of the author´s works. The poetry surpasses the notion of verse and re-examines the concept of composition. The result is not only a novel style of expression but also, and above ala, of existence, because existence is what dilates most, widening in and long with this new way of seeing the world, in which things abandon reality and become projects.   In this way, Jaime B. Rosa centres on the total independence of names, which breaking awway from the ancholr of limiting semantics, achieve absolute verbal freedon. Consequently, the poem, and accasionally one´s own self, stand together without having come to an agreement to do so beforehand. However, his verse is not just an incessant flow of language, as a hasty reading of the poems might misttakenly conclude, but rather it is an acute awareness of possibilities. What Jaime B. Rosa intense3ly examines is spirit more than jus language; an essence that, as he writes, "is a complain before the verse encouters its lips."   As the reader will notice, the poems in this book flustuate between two varieties: brief poems and the prose poems, which I referred to earlier. While the former poem type is concise, consisting of two or three stanzas, the latter kind is less confined. adhering to their own sense of ordes, the lines are grouped in units of sense that are determined by the effect of the rhythm of respiration they produce. At he same time, these longer poems provide the scenario for numerically more visionary images, and therefore more space for experimentation than the shorter poems allow.   Both poem varieties, holwever, blend with a third type, which combines the other two, with one or the other kind predominating. This can be seen, for exemple, in the poem entitled "Como granos de rubí", the first lines of which correspond of the syntax of a longer poem, While that of the last two verses accord more with a shorter poem. This blending of poetic varieties is especially salient in the middle of the book, particularly in poems 13 and 14. It is maintained to a greater or lesser extent in a number of subsequent poems. The author clearly pursues a "unity of action and sense", not in the composition of the words as much as in the continuity of their flow. The pencilling in of one´s own diction, of which he speaks, is the mainstay of his poems, continually threatened with extinction, as, of course, everything is in life. The route taken is none other than that which is established, as the author puts its, "by the black stone that inhabits our dreams," making the text an invocation of the unknown, hidden as it is within the grammatical person, and depicted by the personal pronoun you. Everything, then, seems directed toward a different I, elsewhere yet always within the same stucture. This is can be seen in poem 21, in which the Rimbaud-like otherness is both alluded to and eluded at the same time.   With the vast amount of aesthetic-focused poetry that readers mus bear nowadays, Jaime B. Rosa offers a totally refreshing dynamic, in which language vontinually grows, resulting in growth for the reader who experiences a change in the representation of systems. The shifting sign code requires a new way of alphabetizing reality, one that is "more tactile and fleeting than the moment flowing in its mercury". This is because time has taken place before the event occurs, and prior to its arrival. It is a mysterious and mystical time, existing only within the context of the poem, where it finds its place.   Jaime B. Rosa refers to and reveals it little by little, in vowels, syllabes and spurts that are vocalized, coming to a grand finale at the end of the book, after a long verbal  journey, resulting in loss and atonement. It is a pilgrimage to a sense beyond a meaning, one in which it does not coincide.   Jaime B. Rosa has written a book which, because of its high verbal calibreand the transcendence it produces in the reader, is very rarely found. Reading it, one is transported to the realm of the dispossessed. Worldly divestment and a lack of signification, which have been present throughout the book, are fully intoned in the final poem. In it, Jaime B. Rosa sets out on a journey to another state of dispossession, where I ceases to be.    (Jaime Siles,   University of Valencia)