My position here is that, despite the poet's remarks in Poetica y poesia, the poematic object, which I have heretofore referred to as the creative other, does not in any major sense yield to the mother but, rather, stands her ground, albeit in latent form, before reassuming her position as silent "tu" in A todo lo no amado, where the poet, concomitantly, revisits the metapoetic approach supposedly rejected in No escribir and Dulce nadie.
Whereas the creative other of Espacio de emocion (1981) is a regal visionary, an all powerful and completely necessary force upon whom the poet depends for inspiration, in Vega de la paloma (1984), this dominant presence subsides and the various objects of the poematic landscape become entirely ambiguous.
Dulce nadie's first poem "El aviso" envisions a bond strongly reminiscent of Celda verde's depictions of poematic self and object:
It belongs instead to the ephemeral time and space in which images take shape, Lacan's Imaginary realm, which for Canelo is the realm of creation, the exclusive habitat of poematic self and creative other.
The poem depicts a self that is initially fragmented, as the poematic voice exists independent of face and mouth.
Whether conceived as other, universe, or 'organic essences,' all of these relate to the absent Real whose truth the poematic speaker attempts to realize in situ.
He then wrote a series of " poematic
novels " which identified him most closely with the Generaci o n del 98: Prometeo, Luz de domingo, and La caida de los Limones (all 1916).