Poetry always has the feel of mysticism and mystery, or maybe this feeling is a stereotype left over from high school literature class. It is generally the result of confusion, lack of time committed to consuming the poetry, and the general difficulty poetry imposes on the reader.

In Víctor Rodríguez Núñez’s collection, Every Good Heart is a Telescope, he elevates the mysticism and mystery of poetry through people, events, and experiences that we can be begin to understand tangibly through the use of metaphors relating to science, mathematics, inventorship, and space phenomena. Such imagery is equally as mystical and mysterious as poetry itself, but almost everyone has been consumed by science, mathematics, inventorship, or space at some point in their lives, most often during childhood. The reader will immediately become refamiliarized with their dreams of the yesteryear through Núñez’s love affair with the heavens, metaphysics, alchemy, and our unbounded universe.

As an example, my favorite in the collection is a poem entitled Hypothesis, describing admiration through great mathematicians and scientists, including the likes of Ptolemy, Copernicus, Bruno, Galileo, Kant, and Hegel:

Ptolemy thought
the world was like certain women’s eyes
A sphere of wet crystal
where each star traces a perfect orbit
with no passion
          tide or catastrophe

Copernicus came along
wise man who traded breasts for doves
cosines for fright
and the sun’s pupil became the center of the universe
while Giordano Bruno crackled
to the delight of husbands and priests

Then Galileo
probing deeply into young girls’ hearts
shipwrecked on good wine
—light gathered up by sun—
he raped stars that weren’t from the movies
and before dying on a comet’s tail
he declared love to be infinite

Kant in turn knew nothing of women
prisoner in a butterfly of calculations
in metaphysical pollen
and for Hegel
          so abstract
the problem was excessively absolute

As for me
          I propose to the twentieth century
a simple hypothesis
critics will call romantic
Oh young girl who reads this poem
the world revolves around you

Each of Núñez’s poems has similar patterns to that reflected above; they are each fleeting at first glance, but upon a second, third, fourth read, they are universal and infinite in reach. This is partly due to his reliance on images pulled from science, mathematics, philosophy, and metaphysics, each of which have the same unbounded aura. This is also a result of Núñez’s continual practice of directly addressing the reader in his poems. This technique causes each poem to become intimate in a way that I have rarely encountered in poetry.

In Vincent Francone’s Three Percent review of Of Flies and Monkeys, Francone states “a poet needs to involve me in the process of reading the poem, in short: craft is not enough.” Núñez meets and surpasses Fracone’s requirement—he does not use his craft as a crutch, and instead supplements his skill by requiring the reader to be alert, to become engrossed, and most importantly, not to forget the collection after only reading it once. My sole criticism of the volume is that I wish the original Spanish text were included alongside the English translation. Despite this, I will never look at the stars again without thinking of Núñez’s poetry.

Comments are disabled for this article.


Every Good Heart is a Telescope
By Victor Rodríguez Núñez
Translated by Katherine M. Hedeen
Reviewed by Tiffany Nichols
29 pages, paperback
ISBN: n/a
Rambling Jack
Rambling Jack by Micheál Ó Conghaile
Reviewed by Vincent Francone

“Rambling Jack—what’s that?”
“A novel. Novella, I guess.”
“Yeah, it looks short. What is it, a hundred pages?”
“Sorta. It’s a duel language book, so really, only about… 50 pages total.”
“50 pages?”
“Including illustrations.”
“And this—what. . .

Read More >

The Things We Don't Do
The Things We Don't Do by Andrés Neuman
Reviewed by Tiffany Nichols

Many authors are compared to Roberto Bolaño. However, very few authors have the privilege of having a Roberto Bolaño quote on the cover of their work; and at that, one which states, “Good readers will find something that can be. . .

Read More >

Private Life
Private Life by Josep Maria de Sagarra
Reviewed by Christopher Iacono

In Josep Maria de Sagarra’s Private Life, a man harangues his friend about literature while walking through Barcelona at night:

When a novel states a fact that ties into another fact and another and another, as the chain goes on. . .

Read More >

Dinner by César Aira
Reviewed by Lori Feathers

César Aira dishes up an imaginative parable on how identity shapes our sense of belonging with Dinner, his latest release in English. Aira’s narrator (who, appropriately, remains nameless) is a self-pitying, bitter man—in his late fifties, living again with. . .

Read More >

We're Not Here to Disappear
We're Not Here to Disappear by Olivia Rosenthal
Reviewed by Megan C. Ferguson

Originally published in French in 2007, We’re Not Here to Disappear (On n’est pas là pour disparaître) won the Prix Wepler-Fondation La Poste and the Prix Pierre Simon Ethique et Réflexion. The work has been recently translated by Béatrice Mousli. . .

Read More >

The Queen's Caprice
The Queen's Caprice by Jean Echenoz
Reviewed by Christopher Iacono

Even though the latest from Jean Echenoz is only a thin volume containing seven of what he calls “little literary objects,” it is packed with surprises. In these pieces, things happen below the surface, sometimes both literally and figuratively. As. . .

Read More >

French Concession
French Concession by Xiao Bai
Reviewed by Emily Goedde

Who is this woman? This is the question that opens Xiao Bai’s French Concession, a novel of colonial-era Shanghai’s spies and revolutionaries, police and smugglers, who scoot between doorways, walk nonchalantly down avenues, smoke cigars in police bureaus, and lounge. . .

Read More >