Esta simbiosis color-sonido tan sensorial es especialmente bella cuando se refiere al canto de los pájaros, donde se mezcla el canto de los pájaros con el susurro de las hojas, y el propio silencio del cielo con la luz resplandecente como una hipérbole que nos trae al tiempo presente, el de la existencia de la bomba atómica, la propia existencia de la bomba trae la destrucción-no-existencia a su alrededor:

How is it possible that Danish poet Inger Christensen (1935-2009) did not win the Nobel Prize in Literature?? alphabet is a hymn to the microscopic and macro: the enormous and the unfathomably insignificant; a lulling, effervescent refrain that hisses with the misty sounds of creation and continuation. Life is a process; a continuous series of cycles to which Christensen pays homage in this haunting Fibonaccian progression.

alphabet

De første 5 digte er en opremsning af verdens bestanddele, en slags inventarliste, som blot konstaterer at de findes, uden at deres indbyrdes sammenhæng forklares: "cikaderne findes; cikorie, chrom/ og citrontræer findes; cikaderne findes;/ cikaderne, ceder, cypres, cerebellum". Men i takt med at talrækken accelererer, bliver digtene længere, får mere fylde og beskriver nu, hvordan noget findes: "fiskehejren findes, med sin gråblå hvælvede/ ryg findes den", ligesom digtet selv begynder at stille spørgsmål ved verbet "findes", som det indtil nu har brugt uden at ryste på hånden: "martsbække findes, hvis bækkene findes/ hvis ilten i bækkene findes". In the 1981 poetry collection Alfabet, Christensen used the alphabet (from a ["apricots"] to n ["nights"]) along with the Fibonacci mathematical sequence in which the next number is the sum of the two previous ones (0, 1, 1, 2, 3, 5, 8, 13, 21, 34...). As she explained: "The numerical ratios exist in nature: the way a leek wraps around itself from the inside, and the head of a snowflower, are both based on this series." Her system ends on the n, suggesting many possible meanings including “n’s” significance as any whole number. As with It, however, despite its highly structured elements this work is a poetically evocative series concerned with oppositions such as an outpouring of the joy of the world counterposed with the fears for and forces poised for its destruction. Inger Christensen (16 January 1935 – 2 January 2009) [1] was a Danish poet, novelist, essayist and editor. She is considered the foremost Danish poetic experimentalist of her generation. This book speaks to a particular moment in time: published in 1981, it explores the fear of nuclear annihilation during the Cold War, and asks how we do anything when we fear our imminent destruction. But this book also feels universal, and entirely apt to this moment in time, demonstrating how writing about the specific and the personal creates work that can become apt for many different people and moments. Of course, alphabet seems to speak for our current turbulent political climate especially, as well as the climate catastrophe, but I think it would have felt just as apt twenty years ago. Alphabet builds in incantatory power into a celebration of the natural world and a warning that our activities may be ruining it forever: 'Now the sky is a cavern where withered birds will rot like fallen fruit ..in our despairs we have made/a flowerless earth/sexless as chlorine.'' - The Irish Times

There is a constant echoing, but not clumsy or overbearing; just enough to convincingly bind the fragmented sections of the poem. At digtene er skrevet under Den kolde krig med bevidstheden om atomvåbnets eksistens og menneskenes umenneskelighed, fremgår både implicit: "fissionsprodukterne findes [...] fejlene findes, de grove, de systematiske,/ de tilfældige; fjernstyringen findes" og eksplicit: “atombomben findes/ Hiroshima, Nagasaki/Hiroshima den 6./ august 1945/ Nagasaki den 9./ august 1945”. Når Inger Christensen skriver "abrikostræerne findes, abrikostræerne findes" er det derfor ikke kun en konstatering af at de findes, men også en inderlig bøn om, at de fortsat skal findes i verden, inden den tilintetgøres. The measured but ultimately explosive growth of the Fibonacci sequence, feeding on itself, is appropriate for the poem. It is an alphabetical sequence: each of the fourteen sections essentially begins with a successive letter of the alphabet, from A through N, with that letter then often dominating the section. a b Commire, Anne; Klezmer, Deborah, eds. (1999). Women in world history a biographical encyclopedia. Waterford, Conn.: Yorkin Publications. ISBN 978-1-4144-1267-2. Archived from the original on 2014-06-10.De ahí que vaya más allá en esta comparación, la bomba de hidrógeno es la evolución de dicha destrucción, de esa falta de existencia, en un párrafo que rompe el ritmo anterior y lo emparenta directamente con la muerte, en un instante, un ritmo de versos cortos con encabalgamientos continuos que transmiten una rapidez mortal a un instante en el que se acaba todo: I did not sit down and say 'now I will write a catastrophic poem' ". The Irish Times . Retrieved 2021-09-20. As she moves forward in the alphabetical sequence. the second formal constraint which Christensen is respecting becomes apparent. The lines of the poem follow Fibonacci’s sequence, a mathematical sequence beginning 0, 1, 1, 2, 3, 5, 8, 13, 21…, in which each number is the sum of the two previous numbers. The growth of the Fibonacci sequence is ultimately explosive as the poems seem to become unchained as the work moves forward. In spite of these restrictions, Susanna Nied's translation of alphabet won the American-Scandinavian Foundation Translation Prize for Poetry. And the book, although inspired by the Cold War, continues to be a timely piece of writing: "If anything, things have grown worse since I wrote it," muses Christensen. "When I'm reading the newspapers, I wonder what we as a people are going to do next."