Alejandra Pizarnik at times regards writing as potential asylum for “unspeakable silences” at other she sees it as the place where the poet is held hostage by the impersonal forces of language and by un undefined memory that refuses to be silenced. Fuentes (1974) writes “could there be anything more Argentine than this necessity to verbally fill these empty spaces to fill the blank book of Argentina?”. In order to illustrate Fuentes claim and how the standard for Argentine selfhood is set, I have choose Part III of a group of short poems entitled, “Los Pequenos Cantos”.
‘El centro de un poema es otro poema el centro del centro es la ausencia en el centro de la ausencia mi sombra es el centro del centro del poema’
‘The center of a poem is another poem the center of the center is absence in the center of absence my shadow is the center of the center of the poem’
“Here we had no idea where to go,” says Lai-Yu Fai in a voiceover, the image in black and white. “Then Po-wing bought a lamp. Ireally like it. We wanted to find this waterfall and finally we learned it is at Iguazu. We wanted to go home after it but we lost our way.” Losing one way becomes the metaphor of Happy Together, and with it comes the harsh realization that “starting over” provokes a loss of footing, the impossibility of finally locating the body in a pre-ordinate time andspace. There will be no “going home” for Lay-Yu Fai and Po-Wing because, already home has become the waterfall of Iguazu that remains unreachable. What is in reach instead is a multiplicity of sensation that will lead the two men both together and apart, that will change the bond of their friendship and their love, and relocate both Hong-Kong and Argentina within a map constructed by their desiring bodies moving across time and space.