Abstract

The poem collections Calamina and Amarillo crepúsculo show spaces and landscapes that acquire materiality in poetic language. Despite their clear differences, both texts configure space from a materiality crossed by modernity and its residues. The relation between landscape and poetry is studied using the concept of geo-poetics coined by Michel Collot in Pour une geographie litterair. The article purposes that the poetic subjects of these poems pose their looks on the landscapes’ memory understood as a ruin, instead of exercising the romantic contemplation of the sublime.