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    Touched With Fire: Chronicles on the Poetry of Madness - Part 2

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    Hooshang Danesh (Author of The Chronicles, Poems-2)

    I will never know where my quest and myself begin and end, only that this need to retrace is bound up, not with understanding myself, but with the contingencies which have formed me. Two that stick with me as imperatives:. In the first chapter, where I introduce the Objectivists and what I see to be the project and motivation of their poetics, I place their intentions in terms of these words of Merleau-Ponty: One of my own integrals: When it is also a commonplace that absurdity is, especially in this moment, entirely communicative.

    Readdressing carnality not as a paean to the body as a temple but, as I have written and also expressed in interviews as the site of impingement, the world beating upon the body and mind of the poet.

    The Chronicles, Poems-2 (Paperback)

    I will find what I call to myself a phenomenological poetics, yet, in truth, nothing is new here. My thought reaches back to the ancients, to the participatory feeling ancient cultures experienced in their oral poetries and dance. Language, in the view held by preliterate and tribal societies, is a reenactment of the cosmological, which by its various configurations spells out in each human its logos or song.

    In what sense is what happens before the eye so very different from what actually goes on within … When the field of focus is not admitted as the point is, what loss! Who loves without an object, who dreams without an incubus, who fears without cause? Olson, his practice deeply rooted in archaic concerns, acknowledges the phenomenological linkage as a given, but rather than take it as an unstated assumption of poetic practice, inverts and thereby suggests its obverse, a phenomenological demand placed by world and language on the poet. Where are things or ideas but in a dialectic or logos which has unified them inseparably?

    The image is instead a place of tensions and resistances, of antipathies and sympathies. But the very power of the image is in its ability to drive the wedge between our conceptions of the real and the ideal. Normative interpretation takes the image as a source of critical production. Since the image, although made of words, is mute or occasions a nearly infinite multiplicity of resonances which amounts to the same thing , the interpreter must take the image in hand and generate explanations.

    This fusion, never totally explicable because it occurs within the incarnated body of writer and reader, nevertheless produces an object closed in on itself. The mystery and open secret of poetic conviction. An open secret too: When I speak of poetic conviction, I mean that entry, that suspension of disbelief by which we are drawn into the world of the poem, the same conviction that animates, that ingathers the poet in the act of composition. Zukofsky in talking about Shakespeare in Bottom: Norman Malcolm in Ludwig Wittgenstein: A Memoir , writes of the philosopher: Like an aquanaut, the poet is ballasted with thoughts and emotions aswim in the dangerous watery medium of language.

    My Poetry Teacher

    Just as my body, as the system of all my holds on the world, founds the unity of the objects which I perceive, in the same way, the body of the other — as the bearer of symbolic behaviors and of the behavior of true reality — tears itself away from being one of my phenomena, and confers on my objects the new dimension of intersubjective being or, in other words, of objectivity. Towards a Minor Literature , trans. University of Minnesota Press, , first published , National Poetry Foundation, , Fisher, foreword by John Wild Boston: Beacon Press, , Maurice Merleau-Ponty, Phenomenology of Perception , trans.

    Northwestern University Press, , xvi. Charles Olson, Archaeologist of Morning London: Cape Goliard Press, , Macmillan, , 84—85, qtd.

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    Cambridge University Press, , Paul Ricoeur, The Rule of Metaphor , trans. University of Toronto Press, , emphasis in original. Langer, Feeling and Form: A Theory of Art New York: On Shakespeare Berkeley and Los Angeles: