"Continental Scar Issue" (2013), poema-billboard em Denver, Colorado (EUA),
para a Bienal das Américas.
Sandy creeks around Denver Under the asphalt of São Paulo
A trail of tears from Araweté At ski resorts and beer parlors
Centennials for the Americas Now an urban dance of ghosts
Trail of bones from Arapaho Dammed rivers and Super Bowl
Dead Emerson and Thoreau No more tickets to the funeral
Ricardo Domeneck, "Continental Scar Issue" (2013)
Both formally precise and musically rich, Ricardo Domeneck’s poems are never afraid to tackle politics, philosophy, the body, and history. Written in English, Domeneck’s poem follows a precise measure like downtown Denver’s city grid. It traces both the geography and history of the Americas, mixing the current locale with his native Brazil, illustrating subtle tensions. In the first two stanzas, Domeneck jumps from one location to the other, juxtaposing landscapes, histories, and cultures. With this hopping from one to the other, the trail of tears from the Arawaté tribe can be located in São Paolo as well as in Colorado ski resorts—central conjunction between the two, as if this violence can be seen and felt just about everywhere. Indeed, one of the poem’s strengths is its ability to entwine loss and celebration. By the time we reach “Centennials for the Americas,” the poem slowly drifts out of a specific location to the idea of America, claiming that the transcendentalist thinkers Emerson and Thoreau are dead (and not only in a literal sense). In claiming “No more tickets to the funeral,” Domeneck is making an injunction against morbidity but also suggesting that the event is, perhaps morbidly, sold out.