In my criterion, the end of this verse is a species of recolectivo system. Its reach is a semantic missile. It is a species of intrinsic fight with the word. Perhaps it saves the word to us. It is possible. NY Museums describes an additional similar source. The word is the word. It is always necessary, because as Decir sentenced Sfocles a word will be to say it to everything . In my more recent poemario I have including the following one inscription of Andres: is not the aim don’t mention it.
/Only the shame of which is not shut up. It is my adhesion with its extraordinary poetic quality and its loyal condition of humanist and visionary of the art. The phantasmagoric picture of an orb in war from its same existence is a topic of great expressive depth that Milohnic Morals faces with honesty the eyes, these eyes, are always tired to see and of not seeing, of as much horror. The planet reaches the hyperbolic number of 14,000 wars, where desolation, the cannibalism and the death have had expressions of negation of the human quality. And nor what to say of the genocides and all the human barbarism that besieges every day to us the death hardly night of this sky. Or in this other text Habit in the exile of the tear: /My signs are hidden, despiadadas . In another verse I lyrical adduces is good to be silent dreaming about his stones of sea and of island, where the elements of the liquidity become a semitico vector that compares the tears with the sea, nevertheless, is to be silent dreaming about their stones, where the conversion lyrical desire in aesthetic depth. The Chilean author incorporates the sea like lyrical subject in several of his poems. the sea is treasonous: the sea is another one that breaks.