The bull in Hiroshima, Antonio Ochoa played with two rhetorical possibilities: on the one hand, phrases that give title to the poems of his book and that seem taken from the script of the famous film Hiroshima, mon amour by Marguerite Duras; and secondly, a series of personal experiences that are knotting and hiding in the ravings of an unusually poetic language. So while we're watching the movie by Alain Resnais, we are dreaming the fabric of life and facing a series of puzzles that present themselves as language.
No purity, however, the "poetic" speaks of Antonio Ochoa. Nor could it be said that theirs involves an experiment where logic and calculation would have a certain or absolute, as its title weight indicates, no anger and no anger in these poems, but also a constant aspiration to capture the beauty of the day, such and how they are presented to us in the eyes of understanding and memory. Hiroshima bull refers ultimately to two terrible historical processes, the first would have to do with history in the collective sense of the term; and the second would have its most voluble in transferable experience poet who weaves his poems with the plot of his own life handle.