A propos of identifying Pardo heritage in country of origin am acquainting myself with Afro Antillean poetic genre, LusoHispanic, negroidisme, and the historical baroque. My Francophile leaning always wonders on the notion of nomadism and return most especially as literarily heralded by the Latin American sentential frame. To return and re-return as telluric regional romance. Transuence as a doubled immance of return.

The troubadour is a global bardic. From the era of Liberation vs the Spanish the passioned claim that the Latin American is good enough for the bar of The Enlightenment. Within the cathedral of Latin Americanist struggle and an economic history way beyond my competency to plumb some cultural parity to the Enlightenment ideal the baroque layering generates an overdetermination aware of third world lag compromised by US Monroe doctrine. I see it in others and see it well in myself. The manic rest of tropicalist desire, revolution and jouissance. As an identified displaced neobarococo poet prior to schooling, the consciousness of traditionalist regressive works prior to any culturally embedded view of sex or race in the early era of 20th century Latin American or Afro-based temporalities, is an extra layer of displacement.

I get an image of indigenous people dressed in the fashion of the baroque and going on pilgrimage to Sorbonne or Bologna. This continues in histories of exile for many. The return is not the home coming but a telluric temporal transformative. Along what I see as euclidean and any complex form thereof is ecological and cyberdelic so to say, the stellar kinematics of stars moving like fish is codified as threshold nature in baroque frame, usually.