By J. Rasula
A tremendous provocation to fashionable poetics is the inspirational bounty of destruction (effacement, negation, undoing) bequeathed by way of Mallarmé. Modernist poets and artists explored this initiative via strategic explorations within the materiality of the medium, in addition to dislocations of sensibility. Informing those maneuvers is the main old legacy of the muses, the supposition of a guiding voice, a shadow mouth. This legacy nourishes a fable of thought as privileged entry to the murmur of pre-signifying which means, a speech with out phrases, an image with no pictures, or photos which are so deep as to defy scrutiny. The websites of concept documented in Modernism and Poetic notion variety from 19th century linguistic thought to postmodern thoughts of conceptual writing, encompassing renowned circumstances of modernist poetics (Mallarmé, Pound, Olson) along vague yet revealing figures like Otto Nebel and Henri-Martin Barzun.
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Additional resources for Modernism and Poetic Inspiration: The Shadow Mouth (Modern and Contemporary Poetry and Poetics)
Example text
More importantly, after Mallarmé poets not only wrote words, they traversed a space. The synaesthetic potential felt by Valéry may be rendered variously: Am I reading a text or looking at the starry constellations? Do my eyes scan lines of verse or do I submit to mental pilgrimage? Does the poem, in the act of reading, achieve its pulmonary destiny in the bloodstream, carving furrows in cerebral matter? To what secret imprint am I subjected by reading for the content, as it were, while the form is smuggled past imperceptibly?
As Oskar Pastior notes in a recent reissue of the text, Unfeig is basically a lipogram (70), and in fact Nebel regarded Unfeig as preparatory to the twelve rune work Das Rad der Titanen (The Wheel of the Titans). But lipograms are about a generally surreptitious exclusion (Georges Perec’s La Disparition famously orchestrates an entire narrative around the omission of the letter e from the text), whereas Unfeig is conspicuously invested in displaying the combinatory art and artifice of its rudimentary runes: Tiefteufen erfugen Tiefteufen ereifern Tiefeifer teufen Tiefteufeifer tiefen Tiefteufeifer tiefer teufen Tiefteufeifer feurig tiefer teufen Tiefteufeifer erneut feurig erfugen tief Tieffeuerfugen enteifern (29) In my crude rendering: deepdevil fugues [verb] deepdevil gets excited deepzeal bedevils deepdevilzeal deepens deepdevilzeal deepens bedevils deepdevilzeal fiery deepens bedevils deepdevilzeal renews fiery deep fugueing deepfirefugues dezeals Nebel encoded the runes for a visual template as well, made up of emblems that reinforce the abstract nature of Unfeig while suggesting a primary communicative ensemble starting up from scratch.
Preliminary to the task of unlearning, another issue needs to be addressed, which is that of the manifest implacable visibility of anything one might presume to read. As Mallarmé’s famous poem illuminates, reading and looking are conspiratorially bound up together. T. Mitchell draws attention to “the way in which images (and ideas) double themselves” in a reciprocal delirium of image and likeness, word and thing. “The dialectic of word and image seems to be a constant in the fabric of signs that a culture weaves around itself,” he suggests.