Sex, pinching each other like crabs sucking each other

Poem of Desire It is an epic poem that assumes, from the outset, a lofty philosophical and poetic ambition. Rosa Font Massot shapes her new work from a theoretical framework she herself articulates: a dialogue with Baruch Spinoza and Simone Weil. From the former, she takes the idea that the essence of humankind is desire. From the latter, the intuition that desire projects humankind toward the absolute and the limitless. These two pillars of thought underpin a literary investigation that understands desire not only as an erotic impulse but also as thought, language, and the power of ontological projection. The work constructs a literary space in which desire is not confined to the relationship between bodies; it expands until it merges with the world: desire is a fusion with nature, with what is perceived, and with what we are. This expansion transforms the experience of desire into a way of knowing, speaking, and inhabiting reality. The body is not only pure desiring matter; it is also a fascinating cognitive vehicle.

The seven-part structure of the volume functions as a highly precise symbolic architecture. Seven parts like seven days of sailing, like the journey of a boat clearing the womb of night, like the seven days of creation according to the biblical account. This image of displacement and voyage sets the tone of the book, which advances through an accumulation of intensity rather than narrative progression. Each section delves into a variation of desire, as if it were a ritual requiring a series of repetitions, returns, and consecutive deepenings. One of the most remarkable aspects of Poem of Desire, Rosa Font Massot's poem is characterized by its verbal carnality. The word becomes body, and therefore the images possess tremendous physical force. This approach transforms the long, fragmented poem into a truly sensory experience. In this sense, Poem of Desire It is also striking for its disturbing depiction of physical violence. These images are neither gratuitous nor ornamental: they bring into play the most radical dimension of desire, one that overflows pleasure and borders on risk, loss, and the dissolution of the self. Desire thus appears as an ambivalent force, both creative and devastating. Joan Tibau's illustrations engage with the text without being subordinate to it. They neither summarize nor explain: they reinforce the organic and visceral nature of the volume in a single, beautifully crafted, expressive work published by Proa.

These verses must also be placed within the broader context of contemporary erotic poetry. It is no coincidence that Rosa Font Massot is included in the recent anthology. A match to the tongue, published in the coveted Idillis collection by Ediciones de la Ela Geminada, since Poem of Desire It is a sensual, intense and brave book thanks to an expressive risk that explores desire as a foundational source.