ISSUE 4: FEAR

We are delighted to present the fourth collection of Purple Ink dedicated to Fear. It seems that fear is universal, and poetry is the most desirable dimension to render it. Imagination allows feelings to spread incessantly through words and turn into symbol, acquire a newly born form, while hiding the potentiality of meaning. In the collection, we seek to show how distinctive fear can be, how personalized it becomes, how it is impossible to make one emotion a pan-cultural signal.

In the Argentinian poem by Alejandra Pizarnik fear allows the poet to break free and realize the tragic split between the everyday and the creation of the self: “Fear of being two road of the reflection: / someone asleep in me/ eats me and drinks me’’. The poet is afraid that her poetic ego will devour her personality. Inspiration here is shown as a predator’s hunger for details, feeding the poet’s imagination. Marea (‘’Tide’’) by a Colombian poet, Carolina Rodríguez Mayo, approaches the same theme but addresses the fragility of the poetic world: “Don’t want to stumble and fall that merciless sky blue is in my dreams’’, she says and blinds her eyes in black, so ‘’it won’t rise, it stops dreaming.’’ José Martí, a nineteenth-century Cuban poet, a symbol of Cuban independence, resists his fear of physical pain by writing his verse, ‘’sweet consolation.’’ He proclaims that the power of the pen can stand against the violence of sword. Fear growing into terror, created by the disturbed mind, is what the Maupassant’s poem narrates, taking the same steps in poetry, as Edgar Allan Poe in prose. The Italian poem by Ada Negri is about the panic feeling a woman has, starting her new life after separation during WWI, yielding to its overwhelming nature.

And the days and nights to come
appear as impenetra-
ble masks; the livid past and present
weigh like a massive stone
on my heart.

The Russian contemporary poet, Alia Khajtlina, created a poetic narrative that looks to pause maturation and transform a poetic meditation about the brevity of life into a hide-and-seek game, where the poet reverses the flow of time, by counting from 100 to 1: ‘’Twenty-one – I live alone, twenty – both eyes on fire, legs scratched up, a demon in my ribs, thoughts are running bent down, somebody is waiting for me, somebody from the tenth floor. Ten – I finish the fourth grade, no need to make breakfast. Need to hurry up. In August I will turn nine. Eight – keychain on my neck, melting in the morning sun …’’

Fear manifests as a condition of desensibilization of the outside world and de-temporalization of social time. It is a congestion leading to failure, a psychological and physical sensation of immobility.