Et l'on comprend un poème, non par lorsqu'on en saisit les pensées ni mêmes lorsqu'on s'en représente les relations complexes, mais lorsqu'on est amené par lui au mode d'existence qu'il signifie, provoqué à une certain tension, exaltation ou destruction de soi-même.- - - - - - - - Je dis mot:glissant.l'encrier comporteaucun signatairesans du papieret les dessousqu'il installeà la surfacelevé par le doigtet c'est tout du faitde la pensée(de la feuille imprimée grande)du mot il est déjàayant trait à une matérialitédans la destructiond'une frêle l'organisme(elle garde à nos yeux son secret)l'y rattache une paginationdans expansion totaleoù semble un hasard capter l'idéeou les motsjusqu'à sacrer une languefaire signela coulée d'un texte(des quelque vingt lettres)devant l'étonnementquel que soit le désordre visiblehors expérience, hors phénomènedans lire en comestible fêteaussi les paroles silencieuxà leur mutismebout-à-bout-à-boutse vide l'autre,gommer(de clairvoyance d'une inarticulés ) glissière.- - - - -
God, you got the fallopians and everything.You realize Matthew Barney is gonna hunt you down and kill ya, right.Because you're out-thinking him visually just about every day.What a beautiful description of "negative capability" the cleverly "named" sinon gives...are you sinon?is sinon a collapse of sine qua non upon itself like a blackhole?whoever it is, i bet they love sobin...are they older? because the fetishistic materiality of writing which they are poeticizing is almost over...who uses paper except for grocery lists anymore?i suppose they can switch and do a phenomenology of keystroke and light, palimpsest, for the computer...being french. i mean.it should come quite naturally.
absolutly amazing stuff Troy. You blow my mind everytime I see your blog.
ta Mikeyou know, you've been motivational for me, you have so much enthusiasm, energy & natural talent -- i'm so glad we got "hook'd up" so early on& continue transatlantic transactions of poetry makings.
hey Williami was hoping you'd leave a commment b/c you know French so well -- i don't know French at all really.are they older? because the fetishistic materiality of writing which they are poeticizing is almost over...who uses paper except for grocery lists anymore?i suppose they can switch and do a phenomenology of keystroke and light, palimpsest, for the computer...inna way, the poem is about technology b/c it was so easy to have immediate access to the material.but, as you probably know, many of the online translation services really suck, hell, googtrans actually translates " Mallarmé "as " Whitman " in many cases & scrambles up alotta seedming simple things.this thing came about b/c i started reading a Derrida piece call'd "The Double Session" in the book Dissemination, it's been awhile since i've read any high-theory stuff, but i was really gettin' into it, Derrida is on top-game when he's talkin' about Mallarmé !the zipper thing uses some words lifted from D. quoting M.the source material for the cmmmt textpoem is this:"'Every Splurge on the Vellum': The Silence in Progress of Dante, Mallarmé and Joyce"even the blogpost title, "orifices oculaires du pare-brise" comes from someone talking about a Cit 2 C V, which is here:2CVi am curious tho, if my cut'npaste construction "worked" , where a reader familiar w/ French could read it & say that it's a "poem"?- - -
oh yeah, also many words/phrases came straight from Mallarmé via:Le Livre, instrument spirituel (Variations sur un sujet)- - -
Hey, Mallarme!Troy, I could talk to you for years about Mallarme. For centuries. He's my favorite poet, bar none. I've published a translation of one of his poems. Not to mention "The double session" may be my favorite Derrida essay ever. We have to talk again soon.
I should add: a couple of years ago I showed some of my abstract comics to a friend, and she said: "Wow, Mallarmean!" And I realized she was totally right (admittedly, she knew about my obsession with M., but I hadn't quite put the two together consciously). I don't think I'd be doing what I'm doing if I hadn't learned what I've learned (about ink, about paper, about inscription, about the act of reading, about dissemination especially) from Mallarme.
"I don't think I'd be doing what I'm doing if I hadn't learned what I've learned (about ink, about paper, about inscription, about the act of reading, about dissemination especially) from Mallarme.hey Andrei:i feel much the same way, in my personal mythos, Mallarmé is to modern poetics what Duchamp is to modern art.those dice are still rollin' &that urinal is still pissin'the version of The Double Session i'm reading was translated by Barbara Johnson & she is an excellent translator, i dig how she did the job so well.i'll get in touch soon!
"Shall I uncrumple this much crumpled thing?" -Wallace Stevens
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