Re-reading Vallejo's Poemas humanos reminds me of his saturated use of juxtaposition. Terms and images might try to sit in isolated lines, but the juxtapositions stack-up.
If it were legitimate to interpret Vallejo's poetics as dialectic, his work would complicate (or sicken) the entire process. As one reads on, it becomes difficult to maintain a simple dialectical poetics. There is too much interweaving, too much contamination.
Take this poem that works from the cinematic image (via the theatrical) of Eisenstein:
La emoción que despierta el decorado es de una grandeza teatral exultante. De las poleas y transmisiones, de los yunques, de los hilos conductores, de los motores, brota la chispa, el relámpago violáceo, el zig-zag deslumbrante, el tranquilo isócrono, los tics-tacs implacables, el silbido neumático y ardiente, como de un animal airado e invisible.
The concrete of the poem describes a spark that ignites the scene. The moment becomes contagious and contiguous with other moments in time. Each isolated moment joins in the spark(ing) so that the "tranquilo isócrono" is not so isolated (isócrono suggests one or two equal moments of duration). Its spark spatially and temporally joins other moments to it.
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