According to the postulates of John Berger of 1972, we can affirm that the visible does not exist anywhere except in the set of images that the eye creates when looking. And, although sometimes the visible may remain hidden or alternatively illuminated, once the eye apprehends it, it begins to be part of our livelihood. At the same time, what we know or what we believe affects the way we see things. That is why, if we agree with Berger, it is easy to consider that our appreciation and perception of the image depending on the way we see it.
In front of the book of poems Big Bang of 1974, written by Severo Sarduy, it is central to analyze the perspective it presents on the image. The notion of bursting as a visual image and as a theoretical metaphor serves to think about writing.
Big Bang can recognize as a book of poems that can subscribe to an experience of aesthetics integrated to the mental experience of the artist. In this line, the metaphor of the explosion and the exaltation of color make up the axes central of the book. And from them, the figurative power of writing is questioned and its visual component is revalued. Hence, in Big Bang, allow highlight the game with the lyrical status of the poems, as observed in the case of those dedicated to dwarf stars, giants and vagrants. At the same time, in these poems there seems to be a comparison between couples of stars and human couples:
As is known, the number of double stars is very large: in a sphere of one hundred and twenty light years drawn around the Sun, in a total of forty-three stars there are at least ten couples, that is, almost half. It is rare for a couple’s star mass to be identical. The major star, evolving rapidly, becomes a red giant, while the smaller one remains a dwarf of the main sequence. If the couple is very close, then there will be a transfer of matter from the giant to the dwarf; The latter, seeing its mass suddenly increase, will warm up. (Big Bang, Sarduy)
On the other hand, the constitutive fragmentarity that the book entails is constructed from the accumulation of short notes. Some are organized in stanzas, others only appear as linear descriptions that aim to become objective. Sarduy mixes scientific records, free verses and journalistic comments.
Big Bang recrea bajo la construcción de una forma de ver centrada en el azar.
The Big Bang theory, as a scientific account that explains the origin of life and the universe, emerges in Sarduy’s book as an image that metaphorizes the initial instance of the bang. At the same time it recreates a starry landscape that translates into the fragmentation of the poetic language that simulates the original void and chaos:
...compare the lime of the marabuto with the cloth of a mercedarian monk, / with the snow under the antelope the salt of the fossil heron, / with the semen the Milky Way. (Sarduy)
Big Bang presenta un espectro astronómico soste-nido sobre la base del trabajo con los relatos científicos que narranel origen del mundo. A su vez, dicho relato está organizado temá-ticamente bajo un parámetro musical. Alude tanto a la improvisa-ción del jazz (Mood Indigo) como a la del flamenco.
For Sarduy, image and writing, constitutes emergencies, places where the signs design different suture orders in the composition of the real.