Abstract
On a perspective that considers travel as an initiation to life and art in which the body and its senses play a central role, I propose an interpretation of the first two works by the Argentinian poet Diana Bellessi —Buena travesia, buena ventura pequena Uli (1974) and Crucero Ecuatorial (1981) — as the expression of the search and finding of her own poetic vocation, thanks to the physical closeness to people that she was able to experience in her six-year-long trip through the two Americas. Her answer to the moral appeal proceeding from the other will be studied in light of the theoretical works by Bauman, Ricoeur, Blanchot, and the rhetorical feature of the same poems. In particular, in Buena travesia, buena ventura pequena Uli, the other is manifested as a voice, breathing, rhythm, with interesting results in the stylistic treatment of the text. On the contrary, Crucero Ecuatorial reveals a calmer and more self-confident position. The “right distance” between poetic vocation and solidarity has been attained.
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