On J.R.J.

Reading through an unedited version of Ramón Jiménez's La realidad invisible, I fell on this epigraph:

La poesía debe tener una apariencia comprensible, como los fenómenos naturales; como en ellos, su hierro interior debe poder resistir, en una gradación interminable de relativas concesiones, al inquisidor más vocativo.

Interesting here is the artifice (to push this, the edifice) of the poem, like natural phenomena, looks comprehensible.  Yet its gradation, its progression, is its resistance to these outwardly exposed elements. Its inner core, again thinking through Graham Harman is withdrawn even to the most "vocative inquisitor".  Interesting here is the vocativo notion in Spanish as a type of declinación, running in a different direction to the "gradación intermina" of the poem, meaning: our attempts to shout of "hey you"  do receive responses, often enough indicative of stranger meanings and essences.

It seems to me that the second terceto below from La realidad invisible talks about shells, houses and soul casings in a similar.   Strange here is also the hiperbatón that slightly feigns a correlation between alma, cuerpo & casa.  In the first stanza, levante plays between (Levante, identifying Mediterranean atmospherics and the subjunctive of levantar, a rising up).

¡Ay, la blanca tierra,
el silencio, el humo
que al hogar levante!

Ahora, caminando,
es el alma cuerpo,
la casa es el alma.
   ("Fuera")