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Plural Voices in Piedad Bonnett’s Poetry

Vicente Cervera Salinas    Universidad de Murcia, España    



This article examines an essential part of the poetical work of the Colombian writer Piedad Bonnett, where the concept of ‘plural voices’ is combined with the term of ‘verbal bodies’. The analysis of several poems of his work, from her titles Ese animal triste (1996), Todos los amantes son guerreros (1998) or Las tretas del débil (2004) reveals an essential voice in the field of the most recent Latin American poetics in this century, where the practice of the poetic genre drift towards a different plurality culture, in a place of intersection between the universality voice of Jorge Luis Borges and the melancholy of Alejandra Pizarnik.

June 9, 2014
Copyright: © 2014 Vicente Cervera Salinas. This is an open-access work distributed under the terms of the Creative Commons Attribution License (CC BY). The use, distribution or reproduction is permitted, provided that the original author(s) and the copyright owner(s) are credited and that the original publication is cited, in accordance with accepted academic practice. The license allows for commercial use. No use, distribution or reproduction is permitted which does not comply with these terms.