"Though we keep company with Cats and Dogs": Onomatopoeia, Glossolalia and Happiness in the Work of Lyn Hejinian and Giorgio Agamben.

I recently published an article on the work of Lyn Hejinian and Giorgio Agamben in Jacket Magazine.

Take a look at it here: "Though we keep company with Cats and Dogs": Onomatopoeia, Glossolalia and Happiness in the Work of Lyn Hejinian and Giorgio Agamben.

It fuses together some central elements of Agamben's work on the poetic word, and Hejinian's provocative theory of happiness.

Effectively Agamben's conceptualisation of poetry as a potential modality for an alternate form of life as thinking breaks down into the study of four elements.

1. the poetic word (onomatopoeia, glossolalia, xenoglossia, the semiotic and naming)

2. Enjambement

3. Caesura

4. Structure/Rhythm, what I call projective recursion

Placed together these form the basis for what I call logopoiesis in my most recent work, that is what has been called elsewhere by Heidegger and Badiou, poetic thinking.

I think now there is material on all four elements posted on the blog in relation to various contemporary poets.

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The Grenfell Tower Murders

The 72 victims of Grenfell Tower Fire were murdered, victims of the violence of neglect. Here is the proof.
A year ago, a fire started on the fourth floor of Grenfell Tower, due to a faulty appliance. The fire spread quickly up the side of the building because the tower had been refurbished in 2016. Flammable cladding had been added to the exterior building as part of an £8 million refit which appears to have primarily made the tower more cosmetically pleasing. The money was not spent on improving fire safety within the building, it would appear, a cause for concern for residents’ groups for years. The initial cladding that was to be used is not illegal in the UK but its use is restricted in other countries. To save costs a cheaper version was eventually attached to the building, a more flammable version.
Once the fire caught, residents were advised to stay in their flats. In 99% of all cases this is the best advice, because flats are designed to be “fire resistant boxes” surr…

John Ashbery, Self-Portrait in a Convex Mirror

John Ashbery, Self-Portrait in a Convex Mirror
(Manchester: Carcanet, 1977)
First Published (New York: Viking, 1975)

Close Readings and annotations of every poem in the collection March-April 1997 in preparation for In the Process of Poetry: The New York School and the Avant-Garde (Bucknell UP, 2001)

Introduction:

· Shoptaw notes that this return to poetry is dominated by images of waiting, that narrative (especially fairy-tale) returns, as do the musically based titles, there are no prose poems and no fixed forms such as sonnets of pantoums, most are free verse paragraphs, also bring forward a new American speech, more direct and inclusive.

“As One Put Drunk into a Packet-Boat”, 1-2

· Shoptaw notes this was the original title for the collection, marking a self-consciously Romantic return to poetry, recording the thoughts of “I” from afternoon to night, just outside a childhood country home. Has a pastoral crisis narrative in that a summer storm gathers but passes leaving the poet relieved i…

John Ashbery, Some Trees

John Ashbery, Some Trees
(New York: Corinth Books, 1970)
Originally published (New York: 1956)

Close Readings and annotations of every poem in the collection March-April 1997 in preparation for In the Process of Poetry: The New York School and the Avant-Garde (Bucknell UP, 2001) currently in the process of complete update (2013)

"Two Scenes," 9

This is a poem about duality so in this sense the title actually refers to what the poem is ‘about’. John Shoptaw notes, for example, the phonic mirroring of the poem which he sees as an element later phased out as is the “linear introversion” to be found here. Thus we have the following phonic recurrences: “we see us as we”; “Destiny...destiny”; “News...noise”; “...hair/Air”; “-y” and rhymes of section 2; and “...old man/...paint cans”.

This simple but subtle semiotic device is then developed structurally as well, as the title hints. So ‘scene’ 2 reflects back internally onto ‘scene’ 1. “Machinery” recalls the train as does the canal; g…

william watkin's blog (since 2003)

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