I have previously used this column in the Jornal de Assis to talk about Rosae Novichenko’s Multiple Art, when I emphasized in “Paulistano” Intermission (1), July 2007, Rosae’s multiple (Leonardo-like) potentiality.

I now wish to bring into focus that artist’s poetic streak, an artist who is quite aware of her trend. And if I have to choose between the publishing titles, Distilled Destination or Color-of-Poetry Destination, I’ll opt for the second one, as it allows me to bring out the near-visual effects produced by this Artist of the Words, who is contemporarily an artist in Music and Painting.

In her poetic feats, Rosae manages and mingles a considerable mesh of those effects that Ezra Pound called logopoeia, monopoeia and phanopoeia, i.e., notional effects, musical effects, and the suggestion of visuality – considering that through the potentiality of signs, figures, metaphors and sounds, poetic words awake the readers/listeners’ imagination to living mental representations, which words as a Sonorous-Significant Whole may only suggest, in their congenial undulating linearity. 

And with her command of pictorial, plastic and musical effects, Rosae seems to be continually imparting colors, tones and thickness upon her verses and poems.

This much I have noticed or even hinted at when I chose as the preferred title to this precious collection Color-of-Poetry Destination.

Which is, by the way, what the word causes in Rosae’s poetic feats, as can be seen in “Sina de Transformação” (Fate of Transformation), where the challenge of word is accepted “(…) I must honor it, and soothingly warm it, adopt it,

acknowledge it, consume it

until it overflows

in writing as a whole

and can be seen, heard, spoken:

-new life (…)”

Hence the visual structures of the poems along the collected poems. Hence, too, Rosae’s multicolored poems, at times red, at times black and white, or in contrasting light and shade which pervade her whole poetic work. And in “Mundo Menino” (Boyish World), for instance, color metamorphosis takes place, allying author and character role in an intercommunication of plastic-visual effects expressively powerful.

"São Paulo/Noturna" (São Paulo/Nocturnal), for instance, is just like an ideal city, visually mutant, as if seen at the mercy of metaphorical mutations by an amorous observer.

And, in truth, Rosae’s poetic vocation leads her to insinuate that “Perverse is he who is averse to verse,” considering that verse (to Rosae) is adverse to disregard, disagreement, discomfort, dissemble…

And that was just what Italian poet Giovanni Pascoli beheld in the “unpoetic”: disarray, disharmony, and of course, perversion-inherent sorrow…

To philosopher Hanna Arendt, evil is tedious. To Pascoli, Rosae and all authentic poets – or all artists – evil is absence, disarray and disharmony… Besides those strong hints at visuality, poetry is to Rosae (and I believe to us all, poets) one of the several possibilities of enhancing the act of being, or if you will, with Dante, of “trans-humanizing.”…

So Color-of-Poetry is also a kind of poetical exegesis of the Universe (which, if you’ve noticed, is both Unit and poetic expression, i.e., Uni+verse…)

What else can I say about Rosae Novichenko’s poetic ascesis? All I can do is ask her to keep transforming her artistic poly-personality into fruits of art, germs of articulation and sympathy, as I myself like to say “if it is art, it is part,” that is, the gifts that are bestowed upon us must bear fruit, as tertiary assets, or as gifts of expanded being, to the benefit of all humans.

Which, on its turn, is a great challenge. A challenge that Rosae does certainly accept, as multivalent as Da Vinci…

That is why it is high time her poems got published… 


Sao Paulo, July 27, 2008


Journalist, Poet, essayist, translator

and Professor, USP, founder of UNESP - Assis, São Paulo, Brazil

E-mail: professorprado.prado@gmail.com


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