In the collection of poems “Trenos,” Samuel Feijóo continues to address the interrelationship between humanity and the presence of nature, from his own poetic perspective of immersion in the landscape. However, overcoming the eulogistic tendency of earlier stages of his poetic production, an axiological questioning applied to nature now emerges, as the ethics he had derived from nature now seem foreign to him.

This new sense of the experiential lyric with respect to the natural is expressed in poems such as “The Fetus”, in which with a certain dose of bitterness he reflects on the defects of the natural and a certain injustice that derives from it, if you will, the unequal distribution of beauty, wisdom and life itself and from there implications extend towards divine attributes, constituting a rebellion whose cause is not fully revealed in the collection of poems.

The issue of poverty is not abolished in this new era, but not in the strictly economic sense, but rather in the sense of helplessness in the face of reality. This aspect leads him to an identification with the animal kingdom, from which he questions the ancestral behavior of man regarding the hunting and carnivorous nature of his life.

The social theme emerges with a clear tone of anti-imperialist denunciation—now outlined in Samuel Feijóo’s poetry from his profound capacity to resonate with the same collective clamor—in the text “A Musiquillo, Assassinated by the US State Department.” Apparently, in addition to the crime, the character’s own weakness is what motivates Feijóo’s poetic empathy, who would display a sentimentality prone to feeling the slap and the knife in his cheek and heart when someone else is stabbed.

Colloquialism is a suitable movement for the expression of this new social content, which does not imply renouncing the poetic gains accumulated during his already fruitful poetic practice, but rather a richer amalgamation of nuances when extrapolating the phenomena of reality to the realm of the lyrical.

Despite his questioning of the natural-rooted ethic he had been devising—wrapped in a garment of full lyricism—the collection of poems combines complaint and praise, reflecting the plethora of nature, a boundless fertility that here is not only about the living but also about the crackling of rock, the swelling of clouds, the formation of storms; all of which, however, is dominated by a serene admiration.