Nature in major and minor keys

Today I turned back to re-writing an essay on the baroque and J. Talens, thinking about his disordering and dismissal of landscapes and Nature.  While certainly pertaining somewhat to the novísimos movement, Talens reacts differently to the conclusions after the end of la poesía social of the 1950s.  There is the familiar refrain:  “Si la poesía ya no puede hablar del mundo, hablará, al menos, de cómo otros poemas han hablado del mundo” (La coartada meta 56).  This is a two-fold admission on the part of the poet: 1) complete sincerity on the part of lyric poetry appears to be problematic if not impossible 2) However, the lyrical I will continue to bob on the surface of an alyrical sea, through a variety of mouthpieces.  This is the project of many novísimos, in particular Pere Gimferrer and Guillermo Carnero, who delve back into baroque poetry and their topos and voices (in particular ekphrastic poems about Venice).  I have found this crisis of subjectivity and, therefore, of representation is also a crisis of backdrop, place, landscape and Nature.  And the response is not negation, denial and *mere* postmodern irony, but of proliferation, continually churning out landscape even if it no longer appears possible to "order" them.  Hence my interest in these lines from "No es el infierno, es la calle":

¿Qué ibas a hacer, ordenar los paisajes?…

Aquí sólo las cifras crecen y se multiplican.

The Baroque was about proliferation on major and minor scales (cf. Egginton's The Theater of Truth, pulling the terms, obviously, from D&G on Kafka).  I follow Rem Koolhaas to think about space (and what we want to think of as place) in the same manner.