This book presents my concept of poetic thinking in the context of debates around the anthropological question, that is 'what is being human?', building on 'thinking language' and dialogical thinking, developing a poetological anthropology. It evokes political and social issues to demonstrate why poetics is of general relevance for our times. The essay relates these questions to insights of quantum physics and neurosciences and discusses aspects of contemporary technology, media and medicine, employing notions from contemporary thinkers, (...) such as atmospheres, immanent transcendence, silence and presence. Poetic thinking considers the world in its togetherness, offering an alternative to the opposition of subject and object. It demonstrates the transformative power in the interaction of the form of language and the form of life. Poetic thinking takes place when a subject constitutes itself in creative and dialogical language, transforming its ways of feeling and thinking, in short, its way of perceiving the world. (shrink)

This paper offers a critique of the instrumental logic of thought found in the middle period of Dewey’s philosophy. His instrumentalism requires that thought serves to effect a physical alteration in the conditions of experience through an experimental act, the results of which retrospectively determine the legitimacy of thought. But missing from his account, I argue, is an explanation of the significant alteration of experience brought about by more aesthetic forms of philosophical thinking, which do not aim to effect (...) any kind of physical alteration. I therefore propose that “poetic thinking” be invoked as a necessary supplement to instrumental thinking. (shrink)

Elliot R. Wolfson is Professor of Religious Studies and the Marsha and Jay Glazer Chair of Jewish Studies at the University of California, Santa Barbara.

This volume traces the ways in which Heidegger's philosophical thinking has been taken up, critically re-appropriated, and disseminated in literary and poetic writing since the middle of the 20th century.

This volume traces the ways in which Heidegger’s philosophical thinking has been taken up, critically re-appropriated, and disseminated in literary and poetic writing since the middle of the 20th century.

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas (...) about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought. (shrink)

Heidegger repeatedly performs the encounter of thinking and poetry, explicitly for the sake of inaugurating a non-metaphysical way of thinking. This transformed thinking is to be poetic and non-conceptual, eschewing the comfort of transparent meaning, the grasping power of concepts, the presentational force of images, or the self-evident correctness of propositional statements. The need for such a non-metaphysical thinking arises historically, at the endpoint of the epoch of the completion of metaphysics, when it comes to (...) roost in the Gestell, the technological essencing of being, which pervades and powers all that is in being: all beings, entities and occurrences. Poetic thinking responds to the modern drive to maximum availablity and dispose-ability of being and beings, freeing up the possibility of a path alternative to the dominion of calculative thought and its technological metrics. (shrink)

The philosopher René Descartes is usually associated with cold reason rather than with feeling, to the extent that Rousseau charged his philosophy had "slashed poetry's throat." Andrea Gadberry argues, on the contrary, that Descartes' thought was crucially enabled by early modern poetry and rhetoric. Where others have seen Cartesian philosophy as a triumph of disembodied reason, Gadberry points to Descartes's own impassioned and poetic negotiations with the difficulties of thought and its limits. Gadberry's approach to seventeenth-century writings poses questions (...) urgent for the twenty-first: What is thinking? What does it feel like? What is it good for? Her book reveals an implicit poetics in Descartes' texts, from the puzzling forms of riddle, emblem, and anagram to the antecedents of more familiar, Romantic and post-Romantic poetry in love lyric and elegy. Gadberry's argument is grounded in the rich poetic culture of Descartes' time, even as it traces a biography of thinking. Helping us read classic moments of philosophical argumentation in a new light, this elegant study also expands outward to redefine thinking in light of its poetic shape. This book will be the first volume published in the new Thinking Literature series edited by Nan Z. Da and Anahid Nersessian. (shrink)

This book philosophically discusses the educational challenges of dwelling poetically, which, according to Martin Heidegger, means learning from great poems how to live a worthy life and relate authentically to beings and to Being. The gifts of great poetry are carefully described and concrete approaches are presented that the educator can adopt.

A new reading of justice engaging the work of two philosophical poets who stand in conversation with the work of Martin Heidegger.

_A new reading of justice engaging the work of two philosophical poets who stand in conversation with the work of Martin Heidegger._.

An original study of late Enlightenment aesthetics, poetics, and environmental medicine as overlapping ways of comprehending the dislocations of historical existence lodged in the movements of bodies and minds This book studies later eighteenth-century medicine, aesthetics, and poetics as overlapping forms of knowledge increasingly concerned about the relationship between the geographical movements of persons displaced from home and the physiological or nervous "motions" within their bodies and minds. Looking beyond familiar narratives about medicine and art's shared therapeutic and harmonizing ideals, (...) this book explores Enlightenment and Romantic-era aesthetics and poetics in relation to a central but less well known area of eighteenth-century environmental medicine: pathology. No mere system of diagnosis or classification, philosophical pathology was an art of interpretation, offering sophisticated ways of reading the multiple conditions and causes of disease, however absent from perception, in their palpable, embodied effects. For medical, anthropological, environmental, and literary authors alike, it helped to locate the dislocations of modern mobility when a full view of their causes and conditions remained imperfectly understood or still unfolding. Goodman traces the surprising afterlife of the period's exemplary but unexplained pathology of motion, medical nostalgia, within aesthetic theory and poetics, arguing that nostalgia persisted there not as a named condition but as a set of formal principles and practices, perturbing claims about the harmony, freedom, and free play of the mind. (shrink)

Situates Weil’s writing within the French literary tradition, and recognizes her as a master stylist.

The article investigates the hypothesis that preaching implies more than merely verbalising, proclaiming and rhetoric reasoning. Preaching is fundamentally the art of poetic seeing; an aesthetic event on an ontic and spiritual level; that is, it provides vocabulary and images in order to help people to discover meaning in life (preaching as the art of foolishness). In this regard, preaching should provide God-images that open up the dimension of aesthetics and provide vistas of the ‘unseen’. The iconic dimension of (...) preaching is about symbols and metaphors that help people to ‘see’ in everyday life (a poetic gaze) the presence of God in such a way that tragic events, the awareness of death and the anguish about the fear for loss and rejection become events for signifying life and for healing (the quest for wholeness). It is argued that practical theology should be about a liturgy of life. In this regard, the ‘ugliness of God’ becomes an aesthetic category in a Christian spiritual approach to iconography. In order to do this a critical approach to praxis thinking should probe into the realm of paradigms, especially paradigms that describe the ‘power of God’. Due to the assumption that the depiction of God’s power was predominantly influenced by the Serapis, Zeus and Roman cult (Emperor mystique), a paradigm shift from omni-categories (pantokrator) to bowel categories (passio Dei) in the homiletic depiction of God is proposed. (shrink)

Davide Panagia, The Poetics of Political Thinking (Durham and London: Duke University Press, 2006). ISBN 0-8223-3718-5, (hbk) US$ 74.95, (pbk) US$ 21.95,166pp. and Davide Panagia, The Political Life of Sensation (Durham, NC and London: Duke University Press, 2009). ISBN 978-0-8223-4479-7, (hbk) US$ 79.95, (pbk) US$ 22.95, 213pp.

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition.Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a distinctively (...) Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry.The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life.Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics. (shrink)

This chapter contains sections titled: The Kantian Symbol The Schopenhauerian Metaphor? The Schopenhauerian Metonymy Gracián's Poetics and Schopenhauer as Poetic Metaphysician Conclusion References.

The Poetics of Resistance: Heidegger's Line is a well-informed, carefully written, and detailed treatment of the political implications of Heidegger's philosophy in its Derridean acceptation. It argues that what Heidegger calls poetic dwelling--an element of Heidegger's later thinking often ignored by his more vehement critics--is at once disruptive (of the smooth functioning of technology) and community-founding. To engage in such thoughtful, poetic dwelling is to "cross the line."Roth argues, with Derrida against Heidegger, that crossing this line is (...) not a move into irrationalism (to say nothing of National Socialism); and he argues, with Heidegger against Derrida, that crossing the line, successful resistance, is possible. Grounded in the classics of German scholarship but reaching out to its creative appropriation in postmodernism, The Poetics of Resistance makes an important and timely contribution to the recuperation of a political philosophy from postmodernity. (shrink)

Combining literary and philosophical analysis, this study defends an utterly innovative reading of the early history of poetics. It is the first to argue that there is a distinctively Socratic view of poetry and the first to connect the Socratic view of poetry with earlier literary tradition. Literary theory is usually said to begin with Plato's famous critique of poetry in the Republic. Grace Ledbetter challenges this entrenched assumption by arguing that Plato's earlier dialogues Ion, Protagoras, and Apology introduce a (...) distinctively Socratic theory of poetry that responds polemically to traditional poets as rival theorists. Ledbetter tracks the sources of this Socratic response by introducing separate readings of the poetics implicit in the poetry of Homer, Hesiod, and Pindar. Examining these poets' theories from a new angle that uncovers their literary, rhetorical, and political aims, she demonstrates their decisive influence on Socratic thinking about poetry. The Socratic poetics Ledbetter elucidates focuses not on censorship, but on the interpretation of poetry as a source of moral wisdom. This philosophical approach to interpreting poetry stands at odds with the poets' own theories--and with the Sophists' treatment of poetry. Unlike the Republic's focus on exposing and banishing poetry's irrational and unavoidably corrupting influence, Socrates' theory includes poetry as subject matter for philosophical inquiry within an examined life. Reaching back into what has too long been considered literary theory's prehistory, Ledbetter advances arguments that will redefine how classicists, philosophers, and literary theorists think about Plato's poetics. (shrink)

Critical thinking involves deliberate application of tests and standards to beliefs per se and to methods used to arrive at beliefs. Pedagogical license is authorization accorded to teachers permitting them to use otherwise illicit means in order to achieve pedagogical goals. Pedagogical license is thus analogous to poetic license or, more generally, to artistic license. Pedagogical license will be found to be pervasive in college teaching. This presentation suggests that critical thinking courses emphasize two topics: first, the (...) nature and usefulness of critical thinking; second, the nature and pervasiveness of pedagogical license. Awareness of pedagogical license alerts the student to the need for critical thinking. Indoctrination is done to students; education is done by students. (shrink)

This article draws on the interrelated concepts of reverie and repose in Gaston Bachelard's philosophy to approach Claire Denis' poetic foregrounding of objects in 35 Shots of Rum (35 Rhums, 2008). Connecting Bachelard's work on time to his later studies of the imagination, I demonstrate how the poetic time of reverie and repose are essential to Bachelard's thinking. Focusing on three especially charged objects (trains, rice cookers and lanterns), I argue for reverie and repose as being embedded (...) into the rhythmic structure, affective organisation and form of Denis' film. Contextualising Bachelard's later thinking in relation to Eugène Minkowski, I maintain that Denis' objects reverberate (both formally and sensuously). In 35 Shots of Rum, Denis' poetic objects and her evocation of different in-between states parallels Bachelard's own materialist thinking on the imagination, reverie and repose. (shrink)

CRITICAL THINKING AND PEDAGOGICAL LICENSE https://www.academia.edu/9273154/CRITICAL_THINKING_AND_PEDAGOGICAL_LICENSE JOHN CORCORAN.1999. Critical thinking and pedagogical license. Manuscrito XXII, 109–116. Persian translation by Hassan Masoud. Please post your suggestions for corrections and alternative translations. -/- Critical thinking involves deliberate application of tests and standards to beliefs per se and to methods used to arrive at beliefs. Pedagogical license is authorization accorded to teachers permitting them to use otherwise illicit means in order to achieve pedagogical goals. Pedagogical license is thus analogous to (...) poetic license or, more generally, to artistic license. Pedagogical license will be found to be pervasive in college teaching. This presentation suggests that critical thinking courses emphasize two topics: first, the nature and usefulness of critical thinking; second, the nature and pervasiveness of pedagogical license. Awareness of pedagogical license alerts the student to the need for critical thinking. (shrink)

The article deals with Heidegger’s attitudes towards theology. Heidegger, stating that existential philosophy and theology are incompatible, advances a thesis of not objectivating poetic thinking. Whereas, Ricoeur’s biblical hermeneutics is based on his theory of metaphor. The lingual act here means the destruction of the old outlook for the sake of the new one. In this dramatic way cognition occurs as a meeting. The poetic thinking of the late Heidegger is also based on a meeting that (...) covers both horizontal coexistence and vertical direction. The author raises the question whether the poetic thinking of the late Heidegger is not theological? (shrink)

This dissertation explores the problematic of "care of the self" in the unpublished later work of Michel Foucault. In his major published works, Foucault studied how subjects are fabricated within relations of power and knowledge. He revealed that modern political power is a "bio-power." Its legitimacy derives from its capacity to nurture individual life. It does this by forging individuals whose bodies, capacities, pleasures, comforts, desires, etc., are intrinsically integrated into the state's productive force. One of the main techniques for (...) bringing about this integration is to incite individuals to talk about their desire, to think of themselves as subjects of desire. This practice of reflecting on oneself in order to acquire and express self-knowledge is "hermeneutic" in nature. It uncovers the hidden truth of the individual. Through this hermeneutic practice individuals fashion their subjectivity around the discovery, expression, liberation and fulfillment of their true desire. Foucault shows that this subject of desire first emerges within the confessional practices and spiritual exercises of Christian ethics. However, his work also revealed that prior to the formation of Christian practices a whole range of possible experiences of ethical subjectivity was to be found in ancient philosophy---relations and practices which were not hermeneutic. ;I argue that Foucault's genealogy seeks to historicize our particular formulation of self-knowledge as a hermeneutic of desire. He finds in ancient philosophy an experience of subjectivity that was "aesthetic" and "poetic" rather than hermeneutic. The foundation of ancient philosophy was the practice of "care of the self" in a philosophical life. This dissertation shows that in his lectures at the College de France from 1982--1984, Foucault develops an ethics of care of the self as a response to modern bio-power and the hermeneutics of desire. His genealogy of philosophy reveals a multiplicity of practices of care of the self and self-knowledge. Rather than being an effect of bio-power, or a true desire, the self of care is a material to be formed and a task to be accomplished. (shrink)

Reading Kevin Hart’s creative hermeneutic of the ‘basileic’ reduction in his latest book, Kingdoms of God, naturally leads me to consider another eminent linguistic phenomenologist who continually occupies my thoughts. Although I have been reading Hart now for about 25 years, I have been reading Paul Ricoeur for a decade longer than that, and it is his theory of poetic discourse that my mind keeps tenaciously associating with Hart’s perspectives on parable. Granted, Hart never mentions Ricoeur in Kingdoms of (...) God—unless my careful reading is not so careful and I missed it! In Trespass of the Sign, however, he does note Ricoeur’s significance as a hermeneutical philosopher, specifically his emphasis on the distinction between the hermeneutics of faith and the hermeneutics of suspicion. Also, in an article on John Caputo’s postsecular philosophy of ‘religion without religion,’ Hart makes a brief comment on Ricoeur’s apparent Hegelianism with reference to a general theory of revelation as nonreligious and nontheistic. Still, nowhere that I know of does he extensively address Ricoeur’s fascinating discourse theory regarding metaphor, mimesis, narrative, and parable. If great minds think alike, then Hart and Ricoeur are, indeed, great minds, for, truly, Ricoeur’s reflections on parables and the Kingdom offer an intriguing gloss on Hart’s parabolic ‘basileiology.’ Translating Hart into Ricoeur, therefore, is, in my mind, an easy and profitable exercise that may well enhance the provocative character of Hart’s basileic reduction. Such a translation is the central purpose of this essay. (shrink)

Marjorie Perloff, among our foremost critics of twentieth-century poetry, argues that Ludwig Wittgenstein provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language. Taking seriously Wittgenstein's remark that "philosophy ought really to be written only as a form of poetry," Perloff begins by discussing Wittgenstein the "poet." What we learn is that the poetics of everyday life is anything but banal. "This book has the lucidity and the intelligence we have come to expect (...) from Marjorie Perloff.—Linda Munk, _American Literature_ "[Perloff] has brilliantly adapted Wittgenstein's conception of meaning and use to an analysis of contemporary language poetry."—Linda Voris, _Boston Review_ "_Wittgenstein's Ladder_ offers significant insights into the current state of poetry, literature, and literary study. Perloff emphasizes the vitality of reading and thinking about poetry, and the absolute necessity of pushing against the boundaries that define and limit our worlds."—David Clippinger, _Chicago Review_ "Majorie Perloff has done more to illuminate our understanding of twentieth century poetic language than perhaps any other critic.... Entertaining, witty, and above all highly original."—Willard Bohn, _Sub-Stance_. (shrink)

In this article I shall propose María Zambrano's poetic reason as a suitable method for developing a knowledge of animal being. To do so, I will follow the analyses (Derrida, Coetzee) that place animal thinking in the poetic sphere, thus showing the need for a poetic/literary knowledge to make a philosophical knowledge of the animal possible. Animal writing expresses our nature in relation to animal nature; it discloses our animal interbeingness. Finally, I will point to some (...) of the principles of ecofeminist/animal ethics, like care and empathy, which arise both in what I propose to call animal writing and in Zambranian poetic reason. (shrink)

Sylvia Wynter and Édouard Glissant are twentieth-century cultural theorists from Jamaica and Martinique, respectively. Their literary work critiques western knowledge production and the ways in which colonial modes of thinking have negatively impacted Caribbean subjectivity. This essay explores the counter-hegemonic poetics of Wynter’s essay “The Ceremony Must Be Found: After Humanism” and Glissant’s book “Poetics of Relation,” comparing their epistemologies and methods of literary production. To understand the philosophical resonances of these texts, they are situated in a framework of (...) western critical theory and analyzed alongside the structural anthropology of Levi-Strauss and the poststructuralist theory of Gilles Deleuze and Felix Guattari. This essay aims to illustrate how Wynter and Glissant conceptualize historic, social, and epistemic relationality, and in doing so point us towards a decolonial future. (shrink)

Connecting poetry and philosophy of language, Philip Mills bridges the continental and analytical divide by bringing together the writings of Nietzsche and Wittgenstein. Through an expressivist philosophy of poetry, he argues that we can understand some of the core questions in the philosophy of language. Mills highlights the continuity of poetic language with ordinary language, and positions Nietzsche and Wittgenstein's thinking as the clearest way to expand the philosophy of poetry. By tracing the expressivist tradition of philosophy of (...) language, this study locates its roots in German Romanticism right through to the work of contemporary expressivists such as Huw Price and Robert Brandom. Where poetry has been difficult to grasp with the traditional philosophical tools used by aestheticians, A Poetic Philosophy of Language operates at the crossroads between philosophy of art and language, proposing a new philosophy of poetry with wide-ranging potentialities. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)