‘The unconscious is knowledge; but it is a knowledge one cannot know one knows, a knowledge that cannot tolerate knowing it knows’ (Lacan, ‘The Non-dupes Err’)
‘Our manner of excluding,’ writes Maurice Blanchot, ‘is at work precisely at the very moment we are priding ourselves on our gift of universal comprehension’. The manner of excluding to which Blanchot is referring here works to suppress within language the very silence that underlies and supports it, the silence out of which the text itself speaks. It is such a silence that James evokes, in The Turn of the Screw, ‘…a stillness, a pause of life, that had nothing to do with the more or less noise we at the moment might be making…'. I want to suggest that to engage with poetry, with the literary thing, requires of one a peculiar kind of libidinal investment, an investment beyond the regime of pleasure, manifest in a decisive rupture of legibility and identification. It will require an engagement with what Lacan calls ‘something beyond, something at the point of origin of the signifying chain’. This something is, of course, jouissance—the enjoyment that Lacan explicitly contrasts with pleasure. The notion of jouissance is intended to evoke a movement of language beyond the representable or accountable: the literary thing is an enigmatic signifying event, an act that shows itself forth in ‘a suspension of constituted reality’ (Zizek), a point of singularity that resists any form of verbal equivalent and yet drives us irresistibly on towards it. To quote Luke Thurston, there is something about the literary thing that ‘resists our reading, and encumbers or drags against our attempts to enmesh it in a discursive network or introduce it to an economy of signifying exchange or translation’. Aesthetic experience testifies to some fundamental opacity—something not to be read, beyond analysis—at the heart of the fantasmatic investment. The attempt to enmesh the thing in an order of signification, an order of comprehension, is the very act that puts it beyond us: the dimension of the literary thing is the dimension of ex-sistence, the dimension—as Lacan would have it—of the extimate. ‘To explain art with the unconscious seems to me to be highly suspect; but it is what analysts do. It seems to me more serious to explain art with the symptom’. To identify with the singular, an unidentifiable particular, something impossible to reduce to a symbolic identification, is a distinctive procedure or act that Lacan designates (in Encore) as the not-all, pas-tout. This, for him, is a position of creative excess, where one may, perhaps, locate the feminine. One may also perhaps think of Antigone, of Lady Macbeth, or Laertes’s response to Ophelia’s madness: ‘This nothing’s more than matter’.
If we are to see sublimation as the elevation of an object ‘to the dignity of the Thing’, then I would suggest it has been characteristic of one approach to Olson’s work to see in it an operation of sublimation so understood. In De magia Giordano Bruno wrote of a ‘language of the gods’ immune to the change and decay of ordinary language. The hieroglyphics of ancient Egypt had been man’s last contact with the ancient symbols, before the invention of letters such as we use today brought about ‘a tremendous loss, first of memory, and then of divine science and magic’. To restore such a divine language would require the grammar of ordinary language to be displaced into a more originary structure, one in which the obfuscations that derive from the customary use of syntax and predication give way to an order of language that embodies what originates it—the primordial. To cite the ghost of Hamlet’s father: ‘I could a tale unfold whose lightest word/Would harrow up thy soul’. The ambition of such a language is to speak out of the very energies of the earth itself, to articulate in a concatenation of names—understood by analogy with the hieroglyph or ideogram—the essential configurations of being. Of a writing so understood it seems plausible to say, as has J.H. Prynne in his review of the later Maximus poems: ‘The nouns have an almost secret insistence, lent now to great fluent transitions of discourse and lyric measure, so that the passage-work here is powerful and immensely poignant’. Prynne’s account here implies, I think, some order of homology—even isomorphism—between what is made manifest within the ‘rhythmic flux & balance’ of the metrical energies of the writing and the energies of earth and sea. He clearly intends the following lines to be seen as an exemplary instance of such an intertwining of ‘flux & balance’:
The top of Dogtown
puts one up into the sky as free-
ly as it is possible, the extent of
clear space and air, and the bowl
of the light equalling, without at all
that other, false experience of mountains
climbed, heaven
It is passages like this, and others, including the opening lines of ‘Maximus from Dogtown—I’ and ‘Maximus at the Harbor’, that are able to persuade the critic ‘all over again’ that the concretion here achieved is that of ‘the man speaking to men’. What these lines manifest, Prynne avers, is ‘the image of the most exact freedom to be gained now, from the sustained sequence of full-grown poetic speech, and from nowhere else’. The voicing, the uttering, of the sequence of lines is inseparable from, is immanent within, the sequence itself: what generates the metrical energy is made manifest by it. The origin of the lines, their source in the breath and so in the voice and hence in the being of the poet, is given palpable existence in those same lines. The enounced is what it is inasmuch as it is the articulation of the process of its enunciation. The poet speaks as ‘the man speaking to men’ inasmuch as his words, in their rhythmic expressiveness, embody the function that engenders them. (I would be inclined set this beside an aphorism of Lacan’s: representation is the representation of the lack of the function that engenders it.)
The review concludes with a characterisation of Olson’s writing as such, a characterisation in which language is seen as ‘a mythic likeness resting on the earth, the mappemunde of man’s being, and not by any means a “universe of discourse”’. What we encounter here is ‘not secondary assemblage but primary writing’. Unlike the ‘great unifying sentimentalities of dream’ or the merely naïve procedures of ongoing narrative, Olson’s work ‘retains the whole freedom of primary speech’. That there is a slippage here between ‘mythic likeness’ and ‘universe of discourse’, a slippage whose effect is to bring into question certain aspects of the position being argued for, has been made clear by Anthony Mellors in his book on late modernist poetics, and I won’t rehearse his arguments on this occasion. What I would say is that the mesmerising power, the sheer bewitchment, of language used in this way should not under-estimated. The notion of poetic language as being in some sense an enactment of those processes whereby words are returned to some primordial adherence to things exerts a powerful fascination. Such a vision of language implies that it might in some way be possible to say pure existence itself, to say the originary presence of pre-linguistic space. It is as though the impossibility inherent in such an enterprise is what recommends it. That it is an impossibility is something Giorgio Agamben has made clear: as he says, there is a distinction within language, first made clear by the Greeks, between onoma (name or term) and logos (speech or proposition): ‘primal and simple elements can have no defining discourse but only names. A proposition cannot say what the name has named’ (Potentialities p69). He cites Wittgenstein’s Tractatus (3.221): ‘I can only name objects….I can only speak of them. I cannot assert them’.
It is in connection with Wittgenstein that something further emerges concerning the correlation of language with what lies outside it. In the Big Typescript, he reflects on the concept of a sentence: ‘Can one understand anything other than a sentence? … In a certain sense, there is no such thing as half a sentence’. In a discussion of this passage, Katherine Morris has suggested that the issue of whether something is to be counted as a sentence or a proposition is linked to the question of whether it is used to communicate something, of whether it makes sense to speak of understanding what is said. Seen in this way, there is no such thing as half a sentence. On this view, ‘Fire!’ may well count as a sentence (something may be said with it), whereas on a conception of the proposition to which ideas of syntactic structure are central (that of subject and predicate, say) it would not pass muster. For Morris, an approach to the proposition based on saying and understanding is to be contrasted with a different idea, according to which meaning is inseparable from rules and an order imposed by syntax and its articulation. Given that neither position in this contrast can impose itself definitively on us, the notion of there being a correlation between the forms of language and the forms of reality loses its immediacy and power of fascination. It is pertinent to note that in his earliest writings, in the Notebooks, Wittgenstein observes:
The method of portrayal must be completely determinate before we can compare reality with the proposition at all in order to see whether it is true or false. The method of comparison must be given me before I can make the comparison. (NB 23)
As Denis McManus has pointed out, one may be inclined to think that this true-false matching is ‘made possible by a deeper meaningful-meaningless match between the “forms” of proposition and possible fact. But this deeper match or mismatch must itself presuppose a “method of comparison”, not merely in order for us to be able to test whether the match holds, but in order for what it is for the match to hold or not to hold to be a determinate matter: only if the method is given, is it settled just what the test in question is….settling on the method is settling on what the relevant kind of similarity and dissimilarity is’. Or to evoke the idiom of Lacan, there is no Other of the Other: there is no metalanguage. The ‘autonomy of the signifier’ is strictly correlative to the ‘subjectivisation’ of the signifying chain. As Slavoj Zizek has it: ‘This is what the “arbitrariness of the signifier” means: not the fact that we can “compare” from outside words and things and ascertain that their connection is arbitrary (table is called “table” or “Tisch” or …), but quite on the contrary the very impossibility of assuming such an external position from which we could “compare” words and things’. Any ascertaining of a ‘correspondence’ between words and things, as when we ascertain the truth or falsity of a proposition, is possible only within the already established field of language. Any attempt to establish the accuracy of a factual statement already relies on language for the very meaning of the proposition to be established. That this is so is clear from the following set of remarks, remarks in which Wittgenstein also brings out with astonishing clarity the lack of foundation of language, the lack which alone supports it, its emergence ex nihilo:
Even where the feeling that arouses joy is localised, joy is not: if for example we rejoice in the smell of a flower. – Joy is manifested in facial expression, in behaviour. (But we do not say that we are joyful in our faces.)
“But I do have a real feeling of joy!” Yes, when you are glad you really are glad. And of course joy is not joyful behaviour, nor yet a feeling around the corners of the mouth and the eyes.
“But surely joy designates an inward thing.” No. “Joy” designates nothing at all. Neither any inward or any outward thing. (Zettel §§486-87)
(One might substitute jouissance for ‘joy’ and the point will, I think, remain.) Our having the concept of joy that we do is part of our having that kind of complex life with language, its words, its grammar (in Wittgenstein’s sense) into which agreement—agreement in judgements, not just in definitions—enters in specific and often unforeseeable ways. In Zettel §351 he remarks:
‘If human beings were not in general agreed about the colours of things, if undetermined cases were not exceptional, then our concept of colour could not exist.’ No: our concept would not exist.
It is in our lives with language that the concepts that we have are indeed the concepts that we have. There is nothing beyond this: our lives in language float free in empty space. We possess no firmer ground than this. One might say, as Zizek has it, that language maintains ‘an unnameable distance from the Real’. One might also say that what is being revealed here is the primordial character of the word. To repeat: discourse cannot say what is named by the name; there is no metalanguage. Something similar to the import of Wittgenstein’s vision is grasped by Agamben when he writes: ‘we finally find ourselves alone with our words; for the first time we are truly alone with language, abandoned without any final foundation. This is the Copernican revolution that the thought of our time inherits from nihilism: we are the first human beings who have become completely conscious of language’. To adapt a formulation of Zizek’s, the barrier separating language (the Symbolic) from the extra-linguistic (the Real), is impossible to trespass, since language (the Symbolic) is this very barrier. It is in this gap that Lacan locates the subject: the subject is in effect the ‘abyss that forever separates language from the substantial life-process’. [Cf Psycho: the impersonal abyss we confront when we are face-to-face with Norman’s gaze at the end of the film is ‘the very abyss of the subject not yet caught in the web of language—the unapproachable Thing which resists subjectivization, this point of failure of every identification, is ultimately the subject itself’’ (Zizek).]
It is in relation to this impossible gap separating the Symbolic from the Real that, in Agamben’s view, we may locate the voice. Insofar as the voice is conceived no longer as the experience of pure sound and not yet as the experience of a meaning, the thought of the voice alone leads to a dimension that indicates ‘the pure taking place of language without any determinate event of meaning’. It is this that shows, he contends, that ‘there is still a possibility of thought beyond meaningful propositions’. The dimension of at issue therefore is not that of meaningful speech but ‘of a voice that, without signifying anything, signifies signification itself’. An example of such a revelation of the voice is, I think, to be found in Joyce’s story, ‘An Encounter’. The story concerns the encounter between two boys playing truant from school and an older man in a park. As the man speaks to one of the boys, the narrator of the story, and reveals to him his fantasies of chastisement, his voice seems to become detached from him, and becomes repetitive, insistent:
He described to me how he would whip such a boy as if he were unfolding some elaborate mystery. He would love that, he said, better than anything in this world; and his voice, as he led me monotonously through the mystery, grew almost affectionate and seemed to plead with me that I should understand him.
As Luke Thurston has noted, in an admirable account of the story, the obscure libidinal traces, traces of an obscene jouissance, set down by the narrator—‘almost affectionate’, ‘seemed to plead’, ‘he would love that better than anything in this world’—form an essential part of the narrative mystery unfolded in ‘An Encounter’. There is, Thurston observes, ‘a crucial perception of something more, something in excess of the discourse uttered, a surplus that possibly indicates (and the element of doubt is precisely the point) the libidinal force or pressure of some hidden fantasmatic object’. In other passages, in which the man describes his fascination with ‘looking at a nice young girl, at her nice white hands and her soft beautiful hair’, it seems to the narrator as though the man were repeating something he had learned by heart, ‘or that, magnetised by some words of his own speech, his mind was slowly circling round and round in the same orbit’. As Thurston puts it, the speaker’s repetitive, insistent phrases point to an invisible centre, a fantasmatic black hole, at once restlessly motivating and always eluding his utterance. In the language of the man there is a split or antagonism between desire and drive. Inasmuch as this verbal jouissance is entirely circular, the man’s speech turns back on itself in masturbatory self-fulfilment, in what Thurston describes as ‘a kind of libidinal autism’. There is thus ‘a split between the chain of signifiers and the concrete utterance embodying it, which remains outside the signifying chain: the object voice, a raw pulsation of the real’. The voice is here identified as the objet a. In the graphs of desire, as Lacan sets them out, the voice occupies a place outside the signifying chain: the split between diacritical signifier and the singular condition of utterance is an inescapable and, so to speak, ‘transcendent’ condition of discourse.
I have been struck by something not unlike this in parts of Olson’s work. To bring this out, I propose to look at ‘In Cold Hell, In Thicket’. Whatever the argument, the discursive thrust, of the poem, the insistence of repetition, an insistence that constitutes one crucial mode of its unfolding, effects a shift from representation to something quite different—to a vision of the surface of language, to something not unlike the slimy and obscene utterance of the man in ‘An Encounter’.
In cold hell, in thicket, how
abstract (as high mind, as not lust, as love is) how
strong (as strut or wing, as polytope, as things are
constellated) how
strung, how cold
can a man stay (can men) confronted
thus?
Apart from alluding to the Inferno, what in this context might be signified by ‘cold hell’, by ‘thicket’? It is, I would say, the void around which the text, in the act of endeavouring to represent it, circulates. Even in the opening lines repetition of word and reiteration of syntactic structure are already strongly marked. The same pattern is evident elsewhere, for example see the indented section in Part 2, beginning ‘How can he change, his question is’. In connection with this poem, Robert von Hallberg quotes the following remark of Olson’s on his mode of writing (Olson is actually talking about ‘The Kingfishers’): ‘Each of these lines is a progressing of both the meaning and the breathing forward, and then a backing up, without a progress or any kind of movement outside the unit of time local to the idea’ (p145). The writing goes forward only to fold back on its own progress, in a circling movement around its own passing beyond itself. In an Escher-like topology, the writing describes a redoubled loop, in which the movement on and forward is twisted back into itself, disclosing within itself its own enunciation, which in turn stands beyond itself.
How shall he who is not happy, who has been so made unclear
In this line the second clause turns back on the first, in a movement one might see as anaphoric—even anamorphic. As one goes through the poem, the effect of this type of torsion is not so much to build to a conclusion or climax, as to create a sense of partial movement, first this, then that, an effect similar to that which Lacan calls démontage. I would see in this also a movement reminiscent of the game described by Freud, the fort-da, in which the constitution of child himself as subject is at stake.
Who am I but by a fix, and another,
a particle, and the congery of particles carefully picked by another...
As this section of the poem continues, the verb tenses set in the passive and active give way something more like that of the reflexive middle voice: ‘that they are, in hell or in happiness, merely/something to be wrought, to be shaped, to be carved, for use, for/others’. The reflexive voice effects a montage of the self and the other but as partial objects. One should note that Lacan’s grammar or formula for the drive is se faire, to make oneself. Outside the active and the passive voice, the drive aims to make itself be seen, be heard. As Mairie Jaanus has argued, it is a minimal way of making oneself exist: as she says, ‘it is matter of perpetuating our existence against what drives us towards non-being’. For Lacan, the fort-da game, with its throwing forth and pulling back of the cotton-reel, is not a game intended to master the mother’s disappearance. The reel is both the subject and its lost object—object a. What the child is aiming at, according to Lacan, is that which ‘essentially not there qua represented’. The repetition aims at something that is not there, and involves the ‘impossible to think’ and ‘the impossible to say’. It involves an encounter with the real ‘which is not situated at the level of thought, but at the level at which “oracular speech” yields non-sense, that which cannot be thought’ (Bruce Fink). ‘In Cold Hell’ does not end, it wavers, it gutters, to a finish, ‘precise as hell is, precise/as any words, or wagon/can be made’. In the later work also one can see the self-representation of a global ego with its geography doubled and disseminated by the colours of rhetoric and the insistent rhythms of repetition. The subject is able intermittently to escape the enclosure of an oppressive truth.
Were I to take this further, I would want to consider Eric Santner’s discussion in The Psychotheology of Everyday Life of Franz Rosenzweig’s understanding of singularity, which, as Santner presents it, draws crucially on a notion of drive not unlike the one sketched out here. What I have tried to suggest is that on occasion in Olson there is a struggle to affirm a strange temporality, which is by no means an apotheosis of the present, but of the singular. The writing exhibits the lack of a present, a non-self-presence that typifies the mode of its rhetoric. Something is revealed that is untranslatable, and not be appropriated: one apprehends, as Thurston has it, a metempsychotic rupture of the ‘I’. Evident in parts of Olson’s writing there is that which testifies to something like the very dimension out of which the writing speaks. There is in his texts a dimension of foreclosure, an opening onto what Lacan has called ‘the realm between two deaths’, the realm of a death-in-life that for a moment one is forced to live. I will end with a quote from Olson himself. On the page immediately following his account of ‘In Cold Hell’, von Hallberg quotes the opening lines of ‘Burnt Norton’ and then the comment Olson wrote on them in the margin of his copy of Eliot’s poetry. Olson says: ‘This is a beautiful passage, & does not contradict space. But at the heart of it, in the man, is a lack of the hole of space, & it is that lack that gives Eliot his minority’. Set in motion by the word ‘lack’, there is a play here around and between the objective and the subjective genitive, as in ‘lack of the hole of space’ (one might compare ‘season of no bungling’), a play that, together with an ambivalence attaching to the word ‘hole’, serves to expose the very act that supports and generates Olson’s note as the act of its own un-doing. The lack Olson denigrates in Eliot is a lack Olson’s text is traversed by also.
I have little doubt that all this will have seemed unrewarding and beside the point. All I can say is that I find the struggle for semantic mastery to be what it is only insofar as it disappoints the authority of its own rhetoric.
Note:
The following remark by J.L. Austin is to the point: ‘There is no need whatsoever for the words used in making a true statement to “mirror” in any way, however indirect, any feature whatsoever of the situation or event; a statement no more needs, in order to be true, to reproduce the “multiplicity,” say, or the “structure” or “form” of the reality, than a word needs to be echoic or writing pictographic. To suppose that it does, is to fall once again into the error of reading back into the world the features of language’. One might add that grammar/language is not responsible to reality; only some statements are. To turn the form of our thought into a content, a statement, is not an intelligible project.
Showing posts with label Charles Olson. Show all posts
Showing posts with label Charles Olson. Show all posts
Monday, 15 November 2010
Friday, 25 June 2010
CHARLES OLSON AND THE ETHICS OF SINGULARITY
Eric Santner has drawn attention to what he takes to be a crucial aspect of Franz Rosenzweig’s The Star of Redemption. For Rosenzweig, he argues, the elaboration of the predicative being of the Other, the ‘whatness’ of the Other, functions according to the pleasure principle: thus, in relation to the one loved, ‘each predicate “discharges” some of the tension sustaining my effort to locate the essence of the beloved’. However, at the heart of this effort ‘there is the “pulse” of an encounter with the Other in his or her sheer, “tautological” presence—his or her “ipseity”—beyond predicative being, beyond the “whatness” of essences’. (One may be reminded here of Wittgenstein’s discussion of games and the essence of language.) Freud calls this tautological ‘essence’ of the Other the Thing (das Ding). The Thing is not a thing as such, but a breach in the chain of being. Rosenzweig sees in the emergence of the Thing, thus understood, the birth of the metaethical self. This emergence is, for Santner, and other commentators, such as Slavoj Zizek and Kenneth Reinhard, correlative to what Freud understood as the emergence of Triebschicksal, the drive destiny that separates human existence from that of other creatures. We are the only creatures capable of reflecting on our deaths, and as a result we enjoy an excess beyond that of other creatures. Eagleton summarises Santner’s position as follows: ‘because this reflection intensifies our sense of mortality, we become more purely animal than [other creatures] are’.
Freud distinguishes between instinct and drive. The body of the instincts is a body of need, while the body of the drives is a body of want, lack, or requirement. Need refers to what is necessary for self-preservation. We need to eat and to breathe in order to survive. Requirement refers to a necessity that is not a matter of survival. The body of need and the body of drive are both real insofar as the source of them is in the body, but whereas need involves the inside of the body (stomach, lungs, intestines and so on) drive involves the surface of the body and its erogenous openings, its rims. The shift is from breath to voice.
My suggestion (and it is merely a suggestion, not a position, not a thesis) is that one can see, perhaps, this shift at work in some of Olson’s writing, a shift evident in a certain torsion of the text, of its syntax and predicative organisation. One may at times become aware of a stain or anamorphosis in the writing, a breach not infrequently inherent in, or arising from, repetition induced by a sense, not of place, but death. I would be inclined to say that at such moments of insistence something similar to Barthes’s punctum appears, or can be experienced, in the studium of Olson’s otherwise intelligible and differently explicable purposes. One is seized by a remainder or left-over that Rosenzweig called a surplus of the real within reality. It may be that one comes to find oneself in a realm between two deaths.
Freud distinguishes between instinct and drive. The body of the instincts is a body of need, while the body of the drives is a body of want, lack, or requirement. Need refers to what is necessary for self-preservation. We need to eat and to breathe in order to survive. Requirement refers to a necessity that is not a matter of survival. The body of need and the body of drive are both real insofar as the source of them is in the body, but whereas need involves the inside of the body (stomach, lungs, intestines and so on) drive involves the surface of the body and its erogenous openings, its rims. The shift is from breath to voice.
My suggestion (and it is merely a suggestion, not a position, not a thesis) is that one can see, perhaps, this shift at work in some of Olson’s writing, a shift evident in a certain torsion of the text, of its syntax and predicative organisation. One may at times become aware of a stain or anamorphosis in the writing, a breach not infrequently inherent in, or arising from, repetition induced by a sense, not of place, but death. I would be inclined to say that at such moments of insistence something similar to Barthes’s punctum appears, or can be experienced, in the studium of Olson’s otherwise intelligible and differently explicable purposes. One is seized by a remainder or left-over that Rosenzweig called a surplus of the real within reality. It may be that one comes to find oneself in a realm between two deaths.
Wednesday, 22 October 2008
ON J.H. PRYNNE
‘Buxtehude in kedgeree’: on J.H. Prynne’s Unanswering Rational Shore (Glasgow: Object Permanence, 2001)
Emmanuel Levinas has written: ‘The rift between the rational order and events, the mutual impenetrability of minds as opaque as matter, the multiplication of logical systems each of which is absurd for the other, the impossibility of the I rejoining the you, and consequently the unfitness of understanding for what should be its function—these are things we run up against in the twilight of the world, things which reawaken the ancient obsession with an end of the world’ [Existence and Existents, trans. Alfonso Lingis (The Hague: Martinus Nijhoff, 1978), p.21]. Expressions such as ‘a world in pieces’ or ‘a world turned upside down’, trite though they are, succeed nonetheless in expressing something of what poetry is, or has become, in a time when the ancient obsession with the end reawakens in a darkening world: poetry has its place on the outside, on the hither side, of whatever it is that orders and gives meaning to how things are. It sustains what Heidegger has called the rift between earth and world, where the earthly character of a work shows itself when the work in question foregrounds what it is made of, appearing opaque, and resistant to clarification, shattering every attempt to penetrate into it, and subverting all merely calculating importunity. Earth shrinks from the domination of mastery, inasmuch as it shrinks from disclosure, revealing itself only to the one who is attentive to the elsewhere of undisclosure.
Jeremy Prynne writes:
Why don’t you try a globe for ripeness, this one
where the ore rifles through veins all fossil eyes
ahead, try me my keeper at key at bay contracted,
fingering fair play for fixed pay, tone on blank.
This is not a poetry of ideas, or of words. Prynne’s lines evoke something not unlike the kind of precarious balance of which Maurice Blanchot was so accomplished an exponent: ‘[the poem] is the point from which words begin to become their appearance, and the elemental depth upon which this appearance is opened while at the same time it closes’ [The Space of Literature, trans. Ann Smock (Lincoln: University of Nebraska Press, 1982), p. 223]. For example, the play of repeated sounds in the first line, the ‘o’ of don’t and globe, the ‘y’ or ‘i’ of why, try and ripe, the echo of ess in is, establish patterns of auditory repetition, of similarity and contrast, that are extended as new elements are added—such as bay and play and pay, in lines three and four, where play becomes an element explicitly situated within the series it generates. The process exemplified here is a principle that informs the poetry as a whole. Local repetition is augmented to generate a double movement, whose going forward is also a folding back on itself, the enactment of which reveals or uncovers words in their palpability, in the fact of their existence as words, so that the reader is brought to experience them as external to, or other than, what they are as bearers of meaning. Language seems to take on a presence beyond itself: it stands, as it were, on this side, the hither side, of itself. In the passage quoted, the sense of movement or displacement of language beyond itself is reinforced by the allusion in the first line, via ripeness, globe and one, to ‘Ripeness is all’, ore and all in line two echoing and lending it their support. ‘Globe’ also supports the Shakespearian and theatrical reference, even as it connects ‘world’ to the implications of ‘all’ (‘All the world’s a stage’). However, the ‘all’ in question here is a totality the language of the poem is poised to split itself off from. The space the lines are trying to reach is not the space of another world, but a space which is the other of the world as such. They seek to open, not to what lies within the world or what is possible, but to the non-identical, the impossible, where the world is estranged from itself and ‘where the poem is exile, and the poet who belongs to it belongs to the dissatisfaction of exile’ [The Space of Literature, p. 237]. Prynne is employing one of the paradoxical tropes central to modernism, and making that fact evident as he does so.
Unanswering Rational Shore comprises a series of unnumbered pages composing a sequence of fourteen fourteen-line poems, each poem divided by a space into two stanzas or blocks of seven lines each [J.H. Prynne, Unanswering Rational Shore (Glasgow: Object Permanence, 2001)]. The book itself is divided into two groups of seven poems, with a blank page separating the groups. It is a patterning that, perhaps, the epigraph of the book—lo mismo//lo mismo—serves to prepare for. The text is notable also for the absence of the word ‘I’. This latter feature, together with the repetition of the same announced in the epigraph, as well as the general lay-out, intimates something of how the book offers itself to be read: insofar as it initiates anything as decisive as a movement from one point to another, the movement so initiated is a series of beginnings without sequence, or, as Blanchot would have it, beginnings whose only movement is a return that starts over again, a restless dissemination of beginnings or fragments. ‘Elastic bravery tell your friends, profile margins/dilate the soft annular parallax.’ Marked as standing outside the laws of identity and the logic of the same, Prynne’s text conforms to a conception of poetry as that which ‘revokes the true, eludes signification, designating that region where nothing subsists’. It is the site of ‘the exterior darkness where man withstands that which the true must negate in order to become possibility and progress’ [The Space of Literature, p. 237]. Whereas discourse expressive of truth typically takes the form of propositions, whose structure can be fixed in advance, this is writing that would have us see it as errant and excessive. It is a poetry of exile, of wandering, and ‘where the wanderer is, the conditions of a definitive here are lacking’. The wanderer’s country, the dwelling-place of the nomad, is not a place of truth, but the abandonment of place altogether: such a figure ‘remains outside, on the hither side, apart’ [The Space of Literature, p. 238]. While reading Prynne’s book, one is made aware of language as though one were this side of it, this side of the process of its being uttered. Rather than passing through it to what is said or meant, one is struck by the visibility and fleshliness of it, as the event of it occurs in the here and now, in the singularity of the one, unique, repeatable, and unrepeatable, moment of it.
All the fun of the pit gets well and then better,
sand spun off as yet to bind promise to tap up
one clock via another, either to both, sky-divers
like swallows gorging their young.
The effect of the sudden contrast between the sharp and focussed simile attached to the sky-divers and the surrounding displacements of meaning is to make the physical shape of the language emerge or arise as it were out of the possibilities of significance, and as this takes place one comes to experience in that same emergence the poetry in its solitariness. That is, words and utterances come to the fore as being freed from, or having failed to acquire, any context of significant use, so that the poetry never quite achieves sense or direction. The impression given is of a missed encounter with an endlessly deferred meaning that is always on the verge of departing, or is on the very edge of arriving, so that one is suspended as a reader in the curious interval between the two. What movement there is is not towards repose or conclusion or an achieved realisation. The manner of it is errant, nomadic, effecting a traversal of space, but a space that is surface, not volume. Paul Celan has spoken of art as ‘going beyond what is human, stepping into a realm which is turned toward the human, but uncanny—the realm where the monkey, the automatons and with them . . . oh, art, too, seem to be at home’ [Collected Prose, trans. Rosemary Waldrop (Manchester: Carcanet, 1999), pp. 42-43]. The lines from the stanza quoted above continue:
In staple pairs
all so sudden with a tumult, written for nothing
to skip a beat, break open the shells; dexter risen
forward, new zonal application as leaf by shaded
leaf glows with wanting itself so. None other for
both or neither, before this after that, hall-way of
desire in fairest placement rising.
The poem endorses the freedom implicit in the refusal of death and negation, seeking escape from confinement within totality and the world and assigning no name to what there is in the ‘hall-way of/desire in fairest placement rising’. Eschewing the dialectic, based as it is on the name and the fatality of the name, it offers a letting-be or letting-go of beings, releasing them, not from the subject of desire, but the subject of mastery. The realm of such writing is the uncanny—disclosed in their separation from essence, identity or ground, and no longer subject to category and concept, beings are no longer negated, or denied their singularity. These lines conclude the poem, and the book:
As brood so on
donation true to tint momentous, all is too hardly
much to clear unaided: hot justice pleading for penalty
in a rigged-up camp of love, courtship plays requited
and branded so faintly at implicit final appeal.
The notion of ‘play’ in all its complexity is internal to the uncanny, thus understood. Words like requited and branded shift between past participle and noun depending on their relation to the line end, so that courtship plays and is played between them, just as the love that is requited or returned is also revenged, branded, and yet all is done so faintly it results only in an implicit final appeal, which is all the answer there is to the earlier pleas of hot justice for penalty (connotations of games and play run through the whole passage). Taken in this way, as the non-identical, an event of language irreducible to anything other than the specific emphases of syntax, alliteration and assonance that compose it, the poem ends without ending, ‘branded so faintly at implicit final appeal’, allowing the reader no sure foothold on the slopes of conventional interpretation. The writing here is working through a process of articulating a sense of itself, not so much as an expressive poetry of response, but as the responsibility of response—of courtship, and so of love—as between text and reader, reader and text. The difficulty in coming to terms with this is that it involves a sustained avoidance of whatever would reduce it to mediation or expression, a stance that leaves it withdrawn, outside the alternatives of subject and object, self and other, as though it were seeking to stand on its own, contained within the very self-divisions of which it is itself the origin.
Prynne’s work is sometimes seen in relation to that of Charles Olson, and his attempts to transform poetic language into language experienced or undergone as the ‘projective act’ of the instant and not thought about the instant, an act no prior concepts of coherence are imposed upon, or preconceived limits laid down for. By attending to the syllable and a pre-logical, paratactic syntax, Olson believed he could recover an archaic, pre-Socratic vitality in which the poet’s creativity would be nothing other than a fusion with the unceasing flow of creation itself, and the poem a natural event embodying and releasing the cosmic forces of which both it and the poet are a part:
If [the poet] is contained within his nature as he is participant in the larger force, he will be able to listen, and his hearing, through himself will give him secrets objects share . . . It is in this sense that . . . the artist’s act in the larger field of objects, leads to dimensions larger than the man. For a man’s problem, the moment he takes up speech in all its fullness, is to . . . cause the thing he makes to try to take its place alongside the things of nature. [Selected Writings of Charles Olson, ed. Robert Creeley (New York: New Directions, 1966), p. 25.]
Olson’s claim is that certain syntactic relationships, certain ways of attending to sound and syllable, are more authentic than modern sentence forms based, supposedly, on the subject/predicate structure. It is these more authentic relationships of internal patterning that he finds in the grammars of certain Native American languages, and in the spatio-temporal paradigms of Homeric narrative. However, objections have been raised to this proposal: ‘Like the Fenellosan Pound, Olson pursues a language of nature beneath the language of convention, tracking down the raw, uncooked real in the tradition of American poetry’s obsession with the hieroglyphic and its promise of an archaic, “picturesque” or emblematic, language’ [Andrew Ross, The Failure of Modernism: Symptoms of American Poetry (New York: Columbia University Press, 1986), p. 100]. The problem is that some kind of identity must be presupposed between the form of the real and the form of the poem’s ‘language of nature’, if the poem is to be, as Olson puts it, ‘equal . . . to the real itself’. Propositions purporting to assert an identity between the logical form of language and the logical form of the external world may well be nonsensical. Certainly, any inclination to think that the logic or grammar informing our use of words to say what we mean to say is in some manner derived from, or justified by, an appeal to extra-linguistic reality is misconceived. But, putting these disquiets to one side, the fact is that Prynne’s writing in Unanswering Rational Shore gives no grounds for thinking that it is based on assumptions similar to Olson’s.
Olson’s method depends upon him defining and positioning objects and places, while Prynne undertakes no such thing. Indeed, the poem seems to parody definition:
Petrol in search of flame hardly a ham sand-
wich, where the draft pulls out neither fear nor
care less, any cap provokes lateral adventure call
it tip to tip brownfield rematch.
Rather than definition, what we get is that ‘cunning intertexture of identical and contrasting features’, which, as an effect of the selection and constellation of phonemes and their components, Roman Jakobson saw as integral to the poetic function [Language in Literature, ed. Krystyna Pomorska and Stephen Rudy (Cambridge, MA, and London: The Belknap Press of Harvard University Press, 1987), p. 426]. Prynne discusses Jakobson’s notions of the poetic and his critique of Saussure’s ideas on the arbitrary nature of the sign in Stars, Tigers and the Shape of Words (London: Birkbeck College, 1993)]. The lines develop in ‘lateral adventure’ a variety of series (such as the one going from petrol to flame to draft, cap, call and rematch), which bring to the fore the process whereby words, selected on the basis of their similarity and contrast, engender the combinations, the lines or stanzas, in which they occur. The series articulate and enact the otherness or lack of the process that engenders them. This, for Jakobson, is what the poetic function amounts to. He defines it as follows: ‘The selection is produced on the basis of equivalence, similarity and dissimilarity, synonymy and antonymy, while the combination, the build-up of the sequence, is based on contiguity. The poetic function projects the principle of equivalence from the axis of selection into the axis of combination’ [Language in Literature, p. 71]. The poetic function, Jakobson argues, promotes the palpability of signs, and so deepens the fundamental dichotomy of signs and objects, an occurrence fundamental to the letting-be of beings. Seen against this background, Prynne’s writing may be said to actualise, not those discriminations of sameness and difference that Olson so exactingly attends to, but an irreducible process of projection, aiming at nothing other than a situating of itself in the here and now of the one who reads.
In their book on Prynne, N.H. Reeve and Richard Kerridge discuss the significance for his later work of his engagement with Chinese poetry. Drawing on his account of the ‘Palace Style Poetry’ of the Southern Dynasties, published as a postscript to Anne Birrell’s translation of the anthology New Songs from a Jade Terrace, they note the centrality to the poetry of absence and separation. The subjects and intended readers of the poems are women, kept apart, by convention, distance and the difficulties of travel, from their lovers. Lonely, isolated, gazing out from their windows for some sign of their absent lovers, they are confined within a world of cosmetic surfaces, and subjected to the strict control of highly ritualised forms of life.
Emotions whose real targets are absent are displaced onto precious and symbolic objects; Prynne comments in his critical study on what he calls the ‘window/mist/curtain/screen/mirror cycle, in which hidden feeling is variously projected metonymically upon the screens which hide it' [Nearly Too Much: The Poetry of J.H. Prynne (Liverpool: Liverpool University Press, 1995), p. 180. The quotation from Prynne is cited by Reeve and Kerridge from his postscript to New Songs from a Jade Terrace, trans. Anne Birrell (Harmondsworth: Penguin, 1986), p. 374].
The replacement of the lost object in this way is not the operation of disavowal constitutive of fetishism, but a metonymic displacement proper to the projective act integral to the poetic function —a conception of that act far from what Fenellosa and Pound (or Olson) were after in their dealings with Chinese writing. A closer approximation than theirs to Prynne’s understanding of it (and to his own poetic practice), may be found in Jakobson’s essay, ‘Grammatical Parallelism’, where he endorses J.R. Hightower’s view that in Chinese poetry there is ‘an underlying pattern or series of patterns’ onto which ‘more subtle forms of grammatical and phonic parallelism introduce their counterpoint, a series of stresses and strains’ [Language in Literature, p. 171. The remarks in question are citations from an essay by James R. Hightower]. Jakobson notes elsewhere that ‘in the Chinese metrical tradition the level tones prove to be opposed to the deflected tones as long tonal peaks of syllables to short ones, so that verse is based on the opposition of length and shortness’ [Language in Literature, p. 74]. That is, adapting Prynne’s idiom, grammatical and metrical parallelisms can be said to establish the metonymic patterning of the poetry as itself the screen onto which hidden feeling is projected, while being, at one and the same time, the screen that hides it. It is perhaps not too much to say that Prynne’s texts in Unanswering Rational Shore are acts of a similar projective intent, whose double nature is illuminated by Blanchot’s comment, cited near the start of this essay: ‘[the poem] is the point from which words begin to become their appearance, and the elemental depth upon which this appearance is opened while at the same time it closes’. The enclosed, interior world of the Chinese women whose condition Prynne considers in his postscript is a place no less of exile and otherness—a space of literature—than that prepared by Prynne himself for the reader of his book.
Emmanuel Levinas has written: ‘The rift between the rational order and events, the mutual impenetrability of minds as opaque as matter, the multiplication of logical systems each of which is absurd for the other, the impossibility of the I rejoining the you, and consequently the unfitness of understanding for what should be its function—these are things we run up against in the twilight of the world, things which reawaken the ancient obsession with an end of the world’ [Existence and Existents, trans. Alfonso Lingis (The Hague: Martinus Nijhoff, 1978), p.21]. Expressions such as ‘a world in pieces’ or ‘a world turned upside down’, trite though they are, succeed nonetheless in expressing something of what poetry is, or has become, in a time when the ancient obsession with the end reawakens in a darkening world: poetry has its place on the outside, on the hither side, of whatever it is that orders and gives meaning to how things are. It sustains what Heidegger has called the rift between earth and world, where the earthly character of a work shows itself when the work in question foregrounds what it is made of, appearing opaque, and resistant to clarification, shattering every attempt to penetrate into it, and subverting all merely calculating importunity. Earth shrinks from the domination of mastery, inasmuch as it shrinks from disclosure, revealing itself only to the one who is attentive to the elsewhere of undisclosure.
Jeremy Prynne writes:
Why don’t you try a globe for ripeness, this one
where the ore rifles through veins all fossil eyes
ahead, try me my keeper at key at bay contracted,
fingering fair play for fixed pay, tone on blank.
This is not a poetry of ideas, or of words. Prynne’s lines evoke something not unlike the kind of precarious balance of which Maurice Blanchot was so accomplished an exponent: ‘[the poem] is the point from which words begin to become their appearance, and the elemental depth upon which this appearance is opened while at the same time it closes’ [The Space of Literature, trans. Ann Smock (Lincoln: University of Nebraska Press, 1982), p. 223]. For example, the play of repeated sounds in the first line, the ‘o’ of don’t and globe, the ‘y’ or ‘i’ of why, try and ripe, the echo of ess in is, establish patterns of auditory repetition, of similarity and contrast, that are extended as new elements are added—such as bay and play and pay, in lines three and four, where play becomes an element explicitly situated within the series it generates. The process exemplified here is a principle that informs the poetry as a whole. Local repetition is augmented to generate a double movement, whose going forward is also a folding back on itself, the enactment of which reveals or uncovers words in their palpability, in the fact of their existence as words, so that the reader is brought to experience them as external to, or other than, what they are as bearers of meaning. Language seems to take on a presence beyond itself: it stands, as it were, on this side, the hither side, of itself. In the passage quoted, the sense of movement or displacement of language beyond itself is reinforced by the allusion in the first line, via ripeness, globe and one, to ‘Ripeness is all’, ore and all in line two echoing and lending it their support. ‘Globe’ also supports the Shakespearian and theatrical reference, even as it connects ‘world’ to the implications of ‘all’ (‘All the world’s a stage’). However, the ‘all’ in question here is a totality the language of the poem is poised to split itself off from. The space the lines are trying to reach is not the space of another world, but a space which is the other of the world as such. They seek to open, not to what lies within the world or what is possible, but to the non-identical, the impossible, where the world is estranged from itself and ‘where the poem is exile, and the poet who belongs to it belongs to the dissatisfaction of exile’ [The Space of Literature, p. 237]. Prynne is employing one of the paradoxical tropes central to modernism, and making that fact evident as he does so.
Unanswering Rational Shore comprises a series of unnumbered pages composing a sequence of fourteen fourteen-line poems, each poem divided by a space into two stanzas or blocks of seven lines each [J.H. Prynne, Unanswering Rational Shore (Glasgow: Object Permanence, 2001)]. The book itself is divided into two groups of seven poems, with a blank page separating the groups. It is a patterning that, perhaps, the epigraph of the book—lo mismo//lo mismo—serves to prepare for. The text is notable also for the absence of the word ‘I’. This latter feature, together with the repetition of the same announced in the epigraph, as well as the general lay-out, intimates something of how the book offers itself to be read: insofar as it initiates anything as decisive as a movement from one point to another, the movement so initiated is a series of beginnings without sequence, or, as Blanchot would have it, beginnings whose only movement is a return that starts over again, a restless dissemination of beginnings or fragments. ‘Elastic bravery tell your friends, profile margins/dilate the soft annular parallax.’ Marked as standing outside the laws of identity and the logic of the same, Prynne’s text conforms to a conception of poetry as that which ‘revokes the true, eludes signification, designating that region where nothing subsists’. It is the site of ‘the exterior darkness where man withstands that which the true must negate in order to become possibility and progress’ [The Space of Literature, p. 237]. Whereas discourse expressive of truth typically takes the form of propositions, whose structure can be fixed in advance, this is writing that would have us see it as errant and excessive. It is a poetry of exile, of wandering, and ‘where the wanderer is, the conditions of a definitive here are lacking’. The wanderer’s country, the dwelling-place of the nomad, is not a place of truth, but the abandonment of place altogether: such a figure ‘remains outside, on the hither side, apart’ [The Space of Literature, p. 238]. While reading Prynne’s book, one is made aware of language as though one were this side of it, this side of the process of its being uttered. Rather than passing through it to what is said or meant, one is struck by the visibility and fleshliness of it, as the event of it occurs in the here and now, in the singularity of the one, unique, repeatable, and unrepeatable, moment of it.
All the fun of the pit gets well and then better,
sand spun off as yet to bind promise to tap up
one clock via another, either to both, sky-divers
like swallows gorging their young.
The effect of the sudden contrast between the sharp and focussed simile attached to the sky-divers and the surrounding displacements of meaning is to make the physical shape of the language emerge or arise as it were out of the possibilities of significance, and as this takes place one comes to experience in that same emergence the poetry in its solitariness. That is, words and utterances come to the fore as being freed from, or having failed to acquire, any context of significant use, so that the poetry never quite achieves sense or direction. The impression given is of a missed encounter with an endlessly deferred meaning that is always on the verge of departing, or is on the very edge of arriving, so that one is suspended as a reader in the curious interval between the two. What movement there is is not towards repose or conclusion or an achieved realisation. The manner of it is errant, nomadic, effecting a traversal of space, but a space that is surface, not volume. Paul Celan has spoken of art as ‘going beyond what is human, stepping into a realm which is turned toward the human, but uncanny—the realm where the monkey, the automatons and with them . . . oh, art, too, seem to be at home’ [Collected Prose, trans. Rosemary Waldrop (Manchester: Carcanet, 1999), pp. 42-43]. The lines from the stanza quoted above continue:
In staple pairs
all so sudden with a tumult, written for nothing
to skip a beat, break open the shells; dexter risen
forward, new zonal application as leaf by shaded
leaf glows with wanting itself so. None other for
both or neither, before this after that, hall-way of
desire in fairest placement rising.
The poem endorses the freedom implicit in the refusal of death and negation, seeking escape from confinement within totality and the world and assigning no name to what there is in the ‘hall-way of/desire in fairest placement rising’. Eschewing the dialectic, based as it is on the name and the fatality of the name, it offers a letting-be or letting-go of beings, releasing them, not from the subject of desire, but the subject of mastery. The realm of such writing is the uncanny—disclosed in their separation from essence, identity or ground, and no longer subject to category and concept, beings are no longer negated, or denied their singularity. These lines conclude the poem, and the book:
As brood so on
donation true to tint momentous, all is too hardly
much to clear unaided: hot justice pleading for penalty
in a rigged-up camp of love, courtship plays requited
and branded so faintly at implicit final appeal.
The notion of ‘play’ in all its complexity is internal to the uncanny, thus understood. Words like requited and branded shift between past participle and noun depending on their relation to the line end, so that courtship plays and is played between them, just as the love that is requited or returned is also revenged, branded, and yet all is done so faintly it results only in an implicit final appeal, which is all the answer there is to the earlier pleas of hot justice for penalty (connotations of games and play run through the whole passage). Taken in this way, as the non-identical, an event of language irreducible to anything other than the specific emphases of syntax, alliteration and assonance that compose it, the poem ends without ending, ‘branded so faintly at implicit final appeal’, allowing the reader no sure foothold on the slopes of conventional interpretation. The writing here is working through a process of articulating a sense of itself, not so much as an expressive poetry of response, but as the responsibility of response—of courtship, and so of love—as between text and reader, reader and text. The difficulty in coming to terms with this is that it involves a sustained avoidance of whatever would reduce it to mediation or expression, a stance that leaves it withdrawn, outside the alternatives of subject and object, self and other, as though it were seeking to stand on its own, contained within the very self-divisions of which it is itself the origin.
Prynne’s work is sometimes seen in relation to that of Charles Olson, and his attempts to transform poetic language into language experienced or undergone as the ‘projective act’ of the instant and not thought about the instant, an act no prior concepts of coherence are imposed upon, or preconceived limits laid down for. By attending to the syllable and a pre-logical, paratactic syntax, Olson believed he could recover an archaic, pre-Socratic vitality in which the poet’s creativity would be nothing other than a fusion with the unceasing flow of creation itself, and the poem a natural event embodying and releasing the cosmic forces of which both it and the poet are a part:
If [the poet] is contained within his nature as he is participant in the larger force, he will be able to listen, and his hearing, through himself will give him secrets objects share . . . It is in this sense that . . . the artist’s act in the larger field of objects, leads to dimensions larger than the man. For a man’s problem, the moment he takes up speech in all its fullness, is to . . . cause the thing he makes to try to take its place alongside the things of nature. [Selected Writings of Charles Olson, ed. Robert Creeley (New York: New Directions, 1966), p. 25.]
Olson’s claim is that certain syntactic relationships, certain ways of attending to sound and syllable, are more authentic than modern sentence forms based, supposedly, on the subject/predicate structure. It is these more authentic relationships of internal patterning that he finds in the grammars of certain Native American languages, and in the spatio-temporal paradigms of Homeric narrative. However, objections have been raised to this proposal: ‘Like the Fenellosan Pound, Olson pursues a language of nature beneath the language of convention, tracking down the raw, uncooked real in the tradition of American poetry’s obsession with the hieroglyphic and its promise of an archaic, “picturesque” or emblematic, language’ [Andrew Ross, The Failure of Modernism: Symptoms of American Poetry (New York: Columbia University Press, 1986), p. 100]. The problem is that some kind of identity must be presupposed between the form of the real and the form of the poem’s ‘language of nature’, if the poem is to be, as Olson puts it, ‘equal . . . to the real itself’. Propositions purporting to assert an identity between the logical form of language and the logical form of the external world may well be nonsensical. Certainly, any inclination to think that the logic or grammar informing our use of words to say what we mean to say is in some manner derived from, or justified by, an appeal to extra-linguistic reality is misconceived. But, putting these disquiets to one side, the fact is that Prynne’s writing in Unanswering Rational Shore gives no grounds for thinking that it is based on assumptions similar to Olson’s.
Olson’s method depends upon him defining and positioning objects and places, while Prynne undertakes no such thing. Indeed, the poem seems to parody definition:
Petrol in search of flame hardly a ham sand-
wich, where the draft pulls out neither fear nor
care less, any cap provokes lateral adventure call
it tip to tip brownfield rematch.
Rather than definition, what we get is that ‘cunning intertexture of identical and contrasting features’, which, as an effect of the selection and constellation of phonemes and their components, Roman Jakobson saw as integral to the poetic function [Language in Literature, ed. Krystyna Pomorska and Stephen Rudy (Cambridge, MA, and London: The Belknap Press of Harvard University Press, 1987), p. 426]. Prynne discusses Jakobson’s notions of the poetic and his critique of Saussure’s ideas on the arbitrary nature of the sign in Stars, Tigers and the Shape of Words (London: Birkbeck College, 1993)]. The lines develop in ‘lateral adventure’ a variety of series (such as the one going from petrol to flame to draft, cap, call and rematch), which bring to the fore the process whereby words, selected on the basis of their similarity and contrast, engender the combinations, the lines or stanzas, in which they occur. The series articulate and enact the otherness or lack of the process that engenders them. This, for Jakobson, is what the poetic function amounts to. He defines it as follows: ‘The selection is produced on the basis of equivalence, similarity and dissimilarity, synonymy and antonymy, while the combination, the build-up of the sequence, is based on contiguity. The poetic function projects the principle of equivalence from the axis of selection into the axis of combination’ [Language in Literature, p. 71]. The poetic function, Jakobson argues, promotes the palpability of signs, and so deepens the fundamental dichotomy of signs and objects, an occurrence fundamental to the letting-be of beings. Seen against this background, Prynne’s writing may be said to actualise, not those discriminations of sameness and difference that Olson so exactingly attends to, but an irreducible process of projection, aiming at nothing other than a situating of itself in the here and now of the one who reads.
In their book on Prynne, N.H. Reeve and Richard Kerridge discuss the significance for his later work of his engagement with Chinese poetry. Drawing on his account of the ‘Palace Style Poetry’ of the Southern Dynasties, published as a postscript to Anne Birrell’s translation of the anthology New Songs from a Jade Terrace, they note the centrality to the poetry of absence and separation. The subjects and intended readers of the poems are women, kept apart, by convention, distance and the difficulties of travel, from their lovers. Lonely, isolated, gazing out from their windows for some sign of their absent lovers, they are confined within a world of cosmetic surfaces, and subjected to the strict control of highly ritualised forms of life.
Emotions whose real targets are absent are displaced onto precious and symbolic objects; Prynne comments in his critical study on what he calls the ‘window/mist/curtain/screen/mirror cycle, in which hidden feeling is variously projected metonymically upon the screens which hide it' [Nearly Too Much: The Poetry of J.H. Prynne (Liverpool: Liverpool University Press, 1995), p. 180. The quotation from Prynne is cited by Reeve and Kerridge from his postscript to New Songs from a Jade Terrace, trans. Anne Birrell (Harmondsworth: Penguin, 1986), p. 374].
The replacement of the lost object in this way is not the operation of disavowal constitutive of fetishism, but a metonymic displacement proper to the projective act integral to the poetic function —a conception of that act far from what Fenellosa and Pound (or Olson) were after in their dealings with Chinese writing. A closer approximation than theirs to Prynne’s understanding of it (and to his own poetic practice), may be found in Jakobson’s essay, ‘Grammatical Parallelism’, where he endorses J.R. Hightower’s view that in Chinese poetry there is ‘an underlying pattern or series of patterns’ onto which ‘more subtle forms of grammatical and phonic parallelism introduce their counterpoint, a series of stresses and strains’ [Language in Literature, p. 171. The remarks in question are citations from an essay by James R. Hightower]. Jakobson notes elsewhere that ‘in the Chinese metrical tradition the level tones prove to be opposed to the deflected tones as long tonal peaks of syllables to short ones, so that verse is based on the opposition of length and shortness’ [Language in Literature, p. 74]. That is, adapting Prynne’s idiom, grammatical and metrical parallelisms can be said to establish the metonymic patterning of the poetry as itself the screen onto which hidden feeling is projected, while being, at one and the same time, the screen that hides it. It is perhaps not too much to say that Prynne’s texts in Unanswering Rational Shore are acts of a similar projective intent, whose double nature is illuminated by Blanchot’s comment, cited near the start of this essay: ‘[the poem] is the point from which words begin to become their appearance, and the elemental depth upon which this appearance is opened while at the same time it closes’. The enclosed, interior world of the Chinese women whose condition Prynne considers in his postscript is a place no less of exile and otherness—a space of literature—than that prepared by Prynne himself for the reader of his book.
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