{"id":500,"date":"2026-04-19T23:12:24","date_gmt":"2026-04-19T23:12:24","guid":{"rendered":"https:\/\/borisrozas.com\/musica-y-poesia-del-desarraigo\/"},"modified":"2026-07-27T21:11:19","modified_gmt":"2026-07-27T21:11:19","slug":"music-and-poetry-of-uprooting","status":"publish","type":"post","link":"https:\/\/borisrozas.com\/en\/music-and-poetry-of-uprooting\/","title":{"rendered":"Music and Poetry of Uprooting"},"content":{"rendered":"

By Carlos Avanz\u00f3<\/strong><\/p>\n

\u201cTo a sleepwalker and to everyone \/ I would say: do not look \/ for my soul \/ on the dust jackets of these books.\u201d<\/em><\/p>\n

So writes Boris Rozas in his latest poetry collection, Wes Borland aprende a tocar de o\u00eddo<\/em><\/strong>. The book\u2019s dust jacket acknowledges the writer\u2019s \u201cextensive career\u201d and notes that the collection received the VI Juan Ram\u00f3n Jim\u00e9nez International Poetry Prize of Coral Gables.<\/p>\n

A beautifully produced volume that echoes, in both design and style, the edition of Romances de Coral Gables<\/em> published by Juan Ram\u00f3n in 1948.<\/p>\n

Beyond the dust jackets, the graphic style, and the tribute to Juan Ram\u00f3n, Wes Borland aprende a tocar de o\u00eddo<\/em><\/strong> marks another journey into the urban, stark, and nostalgic world that surrounds Boris Rozas\u2019s recent poetry, also evident in works such as Lugares a los que volver con el buen tiempo<\/em> and Annie Hall ya no vive aqu\u00ed<\/em>.<\/p>\n

In these books, American culture\u2014cinematic, literary, and musical\u2014blends with the poet\u2019s perception of his everyday experiences in the southern European landscape where he lives.<\/p>\n

This personal territory allows him to write in one poem:<\/p>\n

\u201cCities are full of madmen \/ with foam revolvers \/ pointed at their mouths\u201d<\/p><\/blockquote>\n

as though he were walking through New York, and to declare in another:<\/p>\n

\u201cthe poem\u2019s sky cannot be glimpsed \/ when the afternoon overflows\u201d<\/p><\/blockquote>\n

as though Paterson, the protagonist of Jim Jarmusch\u2019s film, were driving his bus across the endless horizons of Tierra de Campos.<\/p>\n

There is a constant sense of being a voyeur<\/em>, a hunter of sensations, detached from and yet involved in everything taking place around him. Always a guest, a foreigner even to himself. A foreigner within his own life.<\/p>\n

Like Wes Borland, the musician who appears in the title of his book, forever condemned to play by ear.<\/p>\n

Published on April 19, 2026, in El Norte de Castilla<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Carlos Avanz\u00f3 \u201cTo a sleepwalker and to everyone \/ I would say: do not look \/ for my soul \/ on the dust jackets of these books.\u201d So writes Boris Rozas in his latest poetry collection, Wes Borland aprende a tocar de o\u00eddo. The book\u2019s dust jacket acknowledges the writer\u2019s \u201cextensive career\u201d and notes … Read more<\/a><\/p>\n","protected":false},"author":1,"featured_media":501,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-500","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-press"],"yoast_head":"\nThe Poetic Universe of Boris Rozas in Wes Borland<\/title>\n<meta name=\"description\" content=\"Review of *Wes Borland Learns to Play by Ear*, a collection of poems by Boris Rozas on memory, identity, music, and rootlessness.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/borisrozas.com\/en\/music-and-poetry-of-uprooting\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" 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