( a page from the Repugno chaplet included w/ SPALTUNG #2)(note: the photo is done inna Dieter Roth style, transposition of both recto & verso)
SPALTUNG #2 was released a while back, itsa publication from the Atlanta Poets Group & this is a very fine issue to hold in yr hands. It only costs 5 bucks & comes with a wonderful handmade poem-object created by Allison Rentz, a CD ROM & an eclectic gathering of contemporary poetics. Contact them & see if they have any copies left!
One of my favorite poems from the issue was a piece by
Bill Freind, after the reading of which I wrote a short review --
reproduced here:
In "still life with lillies", Bill Freind takes to task that trad mainstream quietpo over-reliance on the everpopular first person singular, sighting his scope on the fixity of " İ "; as he says in the explanatory note : "...providing a point of stability every bit as fixed as Descartes' Cogito" and his assessment that it's "essentially reactionary" seems correct.The gathering of this İ horde is from the lines and pages of the idiopo itself and the recontextual results from nabbing the singular en masse & placing them into a plurality provides for an interesting poetic concept.Streams of perpetual İ's in action of varying idiocentric operation and in altering sequence of viewpoints - İ piling upon İ until that supreme uncountable noun,the original authorial İ, is under erasure.This strategy of İ-multiplication is very effective : not only does it erase authorial İ, but replaces it with a refigured pronoun - the alloauthorial İ. Being forced to morph from pressure of coexistence sets the stage for this essential identity shift : the straight slash of letterform dashed throughout a polyּvocal narrative,redefining itself as each İ goes by.Finally ceding what small space it occupies (yet also the immense breadth of its hardwon ultimate singularity from ages of usage) to this exercise which successfully lifts all fixity of the reverberating İ, displacing the uno with muchos and in turn prompting the exchange of the idios kosmos for the koinos kosmos.
[ego eimi.] [ego eimi!] [eimi ego?] [pou ime?] [πού είναι ι]
] ex machina! [
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Spaltung f ͢ 'splitting
scission / scission
“Le roman polyphonique”
(Zwiespalt)
Insofar as the subject is barred as a consequence of the Spaltung induced by language, it is to be regarded as that which one signifier (any signifier S2)
“counter-discourse to the discourse of the utterer”
The oppositions epic/novel, monoglossia/polyglossia, centripetal/centrifugal seem to endorse the claim of an incommensurable character of these concepts. However, the logical conclusion of such a theoretical stand would lead to the paradoxical affirmation that the originator of a theory based on dialogue, is ultimately a dualistic thinker who developed a static typology of literature.
(brèche du moi)
“spaltung du sujet que la psychoanalyse établira avec précaution scientifique”
(pulvérise le sujet parlant)
“unfinalizability of human consciousness”
notes:
7. Bakhtin speaks of a “refracting of the author’s intentions” by the narrator’s story. Accordingly, he seems to endorse an intentionality of the author as he affirms that “if one fails to sense […] the intentions and actions of the author himself, then one fails to understand the work". It is in this sense, that I make use of the notion of “author” instead of narrator, while being conscious of the postmodern dismantling of this concept.
8. The emphasis on hearing is central for Bakhtin and is mirrored in his penchant for concepts derived from musical terminology; the most obvious examples being the term “polyphonic novel” and “orchestration.”
10. Indeed, the same considerations apply to the binary “novel-poetry.” The fact that Bakhtin often uses poetic works to illustrate the functioning of dialogized heteroglossia already blurs the frontiers between genres rather than “walling them off.”
WORKS CITED:
Nidesh Lawtoo
via
Linguaromana.byu.edu
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