THE TELARAÑA CIRCUIT is Lucía Hinojosa Gaxiola's first book of poems, a deeply felt and sustained investigative thought-web of material and immaterial memory.
THE TELARAÑA CIRCUIT is Lucía Hinojosa Gaxiola’s first book of poems, a deeply felt and sustained investigative thought-web of material and immaterial memory. Through different sectional lenses, she constructs a poetic portrait of her aunt who was, aptly, an archeologist. In this, she creates a series of visual and sonic poem-glyphs that score archaeologies of personal and cultural memory, where each cycle spins and sings new registers of connective depth. This bilingual text blossoms into a mesh of charged, fractal elements: each line or “fragment” imbued with the full presence of the whole.
Poetry. Art. Latin American Studies. Women's Studies.
”For Lucía, the poem manifests in an astounding array of media and may take the form of pulsating, handwritten notations; heirloom archeological illustrations; and wordless, faded slides. Behold the celebration of the mind’s ability to perceive the infinite interrelations between the animate and inanimate realms, the vibrations resulting from the friction between the two, and their convergence onto printed matter. TELARAÑA is alive and radically open. Enter the book and synchronize your breath to the rhythms of its ongoing motion; it’s a standing invitation.” — Mónica de la Torre
From Carolina Ebeid's ANTEMANO / BEFOREHAND:
"THE TELARAÑA CIRCUIT opens with a video still of the poet’s hand performing a ritual at the mouth of a cave in the archeological site of San Martín Huamelulpan. In the recording, we hear rhythmic scratching on the site wall as Lucía’s fingers transcribe the bits of tepalcates, ceramic and rock patterns from an archeological illustration and text her aunt, Margarita, produced decades before. A disarticulated kinship story told in palimpsestic time, as they both, years apart, inhabit the same slanted light hitting the wall in jagged angles. It’s an ancient music, the scratch-scratch, recorded in these poems. We also sense it in the scans of her handwriting, the crisscross back and forth of the eraser, the hand impressing itself on the page. “Every mark on paper is an acoustic mark” Susan Howe affirms. Lucia’s work itself proposes that to listen involves the whole body.
"These are glyphs to decipher: x-rays of the chest cavity, a warm impression on a pillow where the elbow had been. We learn to read anew, to turn our heads slightly and study the page as a field, and the field (excavation site, river, dirt plot) as a text. In the poem “mantra” the person becomes a document that can be translated into a list of the elements that make up the human body, elements shared with other mammals, insects, plants, geologic matter. Telaraña is woven with an ample notion of connection, wide and deep. The poet discloses the surface of the page as a meeting place for vital ancestral relation, a nowhere, a now here.
"Poetics of friction, then, arrives to a mystical zone, which for her is the zone of socio-political possibility. A memory dis/membered and re/membered through body-memory, nerve-memory. Un registro escondido en la cóclea. “Olvidar 1993 / Forgetting 1993” archives the recording of silent remembering in the environment of the present, where each frame holds time. NAFTA changes the sonic architecture while bringing back memory through listening. In “tallar o llorar / wipe or weep” we hear the political soundscape of artistic creation in public space. The hand intervening, painting the statue, the monument, the hand of the state that scrubs off the protest."
Lucía Hinojosa Gaxiola (Ciudad de México, 1987) is an artist and writer working across disciplines and artforms. She exhibits and performs her work in multiple media, leads workshops and co-edits diSONARE, an experimental editorial project from Mexico City, where she is currently based. THE TELARAÑA CIRCUIT is her first full-length book.
Author City: Mexico City MEX