Rocío Cerón, "Divisible Corpóreo" (expanded poetry) and the "musica universalis" of the future

Abstract

This article studies the expanded-multi/transmedia collection of poems Divisible Corpóreo (2022) by the Mexican poet Rocío Cerón (1972) to contextualize its sound and visual-conceptual performative character within her work. Therefore, it argues that the work that the poet does with the linguistic space of the poem, where mystical and scientific aspects (cosmology and quantum theory) converge, which brings her closer to the paradigmatic (today: avataric) figure of Sor Juana Inés de la Cruz, as a woman who writes and thinks (about the mysteries of the world). This recreates the mystical experience of an intellectual night, rather than a classical spiritual abandonment. In Cerón's case not so much with respect to the opacity of language but rather to the cognitive capacity of the human observer ("The Observant"), imagined from our anthropocentric heritage that in the 21^st Century seeks to free her/himself, in poetry, from the rhetorical and self-referential licenses of the self. In such a way that by carrying out this operation, the poet rediscovers the musica universalis (yesterday: music of the spheres; today: string theory; tomorrow: ?) that pulsates in everything that exists, that expresses the Universe from its most intimate materiality, in which that cell division that we end up calling the (biological) body undoubtedly participates in its own right. DC is, beyond its various generic modulations, a chant of/for the future that takes the form of a vital lullaby.