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Her poems, moreover, occupy the position between those two elements--the energy of rupture and displacement is made real. Like Howe and Hope Atherton , Lauterbach's poet is expelled from the community:. In that country, there were no heroes to invent a way to fill the hours with parables of longing, so her dreams were blank.
Sometimes she imagined voices which led to her uneven gait and to her partial song. Once she was seen running. A child said he saw her fly low over the back meadow and into the pines, her feet raving in wind. The child was punished for lying, made to eat ashes in front of the congregation. The priest said, You have made a petty story. Now enter duration. AFE 4. This conclusion of "Rancor of the Empirical" echoes the fanaticism of the Puritans, albeit instituted as a mode of survival, and the resulting Salem witch trials.
Segregation from the forest, sequestering of desire or its commodification , and public discipline for any transgression define our culture and history.
Social and political banishment coincide with the banishment of the imagination and the metaphoric. Lauterbach, in a recent essay, cites Girogio Agamben's Infancy and History that with "Descartes and the birth of modern science. To this, we must add, as Lauterbach's poetry would claim, eros as banished, as rendered a subject of mental alienation. The connections between eros and the oracular revolve around the desire to reconstruct or re-imagine ways of telling.
This desire to examine, in Lauterbach's words, "the various ways in which language constructs both who and how we are in the world" so as to "bring us back into a relation to visceral contingencies of human contact" her emphasis, 22 , constitutes what could be termed eros. There is a connection between eros and written language as Anne Carson has observed in regard of the ancient Greek alphabet:. The alphabet they used is a unique instrument. Its uniqueness unfolds directly from its power to mark the edges of sound. For, as we have seen, the Greek alphabet is a phonetic system uniquely concerned to represent a certain aspect of the act of speech, namely the starting and stopping of each sound.
Consonants are the crucial factor. Consonants mark the edges of sound. The erotic relevance of this is clear, for as we have seen eros is vitally alert to the edges of things and makes them felt by lovers. As eros insists upon the edges of human beings and of the spaces between them, the written consonant imposes edge on the sounds of human speech and insists on the reality of that edge, although it has its origin in the reading and writing imagination. Such play between contacts, as Carson notes, corresponds to the erotic in that it derives in part from early language play--an atavistic memory of openness.
Lauterbach has thematically investigated the cordoning of eros in her earlier collection, Before Recollection--but it is in her last three collections that eros has been sited within the composition or material of the written. The oracular depends upon this erotic imagination, for through the oracular, human contact, in the form of the interpretive community, is renewed.
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There is a radical tension between the estrangement enacted by poetry and that estranging of the poet, of Hope Atherton, or of the boy in "Rancor of the Empirical. Reading in the point or moment of rupture or estrangement forms a differing community, that is the community of ongoing interpretation.
Jean-Luc Nancy writes,. The community takes place of necessity in what Blanchot has called the unworking [desoeuvrement]. Before or beyond the work, it is that which withdraws from the work, that which no longer has to do with production, nor with completion, but which encounters interruption, fragmentation, suspension.
The community is made of the interruption of the singularities, or of the suspension singular beings are. It is not their work, and it does not have them as it works, not anymore than communication is a work, nor even an operation by singular beings: for it is simply their being--their being in suspension at its limit.test7.expandit.io/the-skin-trilogy-the-midnight-calling-card-chronicles.php
Radical Philosophy: A Journal of Socialist and Feminist Philosophy
Communication is the unworking of the social, economic, technical, institutional work. The oracular, that which eludes the biographical control of authorship as well as the institutional control of meaning, occupies the space of rupture, the moment between the diachronic and synchronic, human and non-human: Something must have lifted our spirits caused our tongues to be untied dreamed us from ruin where the ur-bells begin sun roiled under an elk's body penciled toward or into its subject willing to aspire as the turbulent same doubles its augur "body color" "blood" These unnamed, above have a gash or surprise, a smile missing the dangling thing as the tacit crosses over to where meanings are mind changing again into its mystery flume of song and cedars made to weep across from the flags in the signature gardens trajectory of a fragment at all times in view AFE The figure of Beuys, who survived near death in the Second World War, parallels Hope Atherton in that his art reflects a return and a simultaneous banishment.
To create a wholeness would negate the perception of the particulars of that wholeness. Her poems keep each "fragment at all times in view. The fragmentary signals contingency--"Also, perhaps, maybe" 33 --our very grammar is that of transition and rupture. Identity is a series of constructions--Beuys may reify identity as collections of saved matter, dismembrae, excreta--each severed from the others.
Even when the biographical becomes explicit, the narrative operates as a form of contingencies or examples. Shifting from prose, to linear arrangements that appear to be poems, to quotations from other texts, such as Ondaatje's The English Patient, Lauterbach creates a field of ruptures and parallel narratives. Near the end of the poem, Lauterbach writes,. It is to words both the reader and writer come to. Each must sift and choose, in that choice comes responsibility or an ethics of freedom.
Lauterbach's unit of composition is that of the page, like Howe, and comprises, as Lauterbach writes in an essay, a shifting "the reader's attention away from temporality and narrativity toward a metonymic mapping, an embodiment" The memories of her father and his absences thus her fatherlessness as well as the decisions to forestall maternity, and then its displacement into the social role not of mother but of poet is constructed through language and the social impingements upon language. Nest, that constructed habitation, is both affirmed and negated in its own formation.
That the poet's practice is an in-dwelling--or inscaping to borrow from Hopkins--of words, it is also the banishment from habitation, from the familiar, from the safety of nests and family and normative that is the disciplinary community.
Why We Should Read Heidegger
The reader assumes the responsibility of making meaningful the text; this is not to say Lauterbach or Howe have made meaningless works, but rather part of their work's significance its signifying value is the need for the reader to participate in the signifying process. This involves one's own meditation on the historical context of both reader and text and the historicity of words. Howe writes, in regard to Dickinson, "Poetry is never a personal possession. The poem was a vision and gesture before it became sign and coded exchange in a political economy of value" B This vision is the "ur-bell" that Lauterbach responds to, as did Beuys, and Howe, and Dickinson.
Cultural institutions mediate and discipline--and as Howe demonstrates, violate that vision, as in the case of Dickinson, out of the fear of otherness, the forest, eros. Works Cited. Bruns, Gerald. New Haven: Yale UP, Carson, Anne. Cart items. Toggle navigation. Stock photo. Search Results Results 1 -5 of 5. Yale University Press. Some pencil underlining and annotation else very clean and sound.
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He describes what is creative in Blanchot's readings of Heidegger's controversial works and examines Blanchot's conception of poetry as an inquiry into the limits of philosophy, rationality, and power. Subscribe Now. Table of Contents.
Maurice Blanchot. The Refusal of Philosophy. Gerald L.