The “Tense of Incoherence” ( Paul Valery)

“I am suspicious of all words, for even the slightest reflection shows the absurdity of trusting them.”

– Paul Valery, Monsieur Teste

“You know, dear you, that my mind is of the obscurest sort…I am composed of an unfortunate mind which is never quite sure that it has understood what it has understood without realizing it.”

– Valery –

FOR NO REASON

Delight.  Hope.  Survival.  

Homer .  Beckett.  Kafka.  Hegel.  

Language.  

Wittgenstein.  Heidegger.  Merleau-Ponty.  

Fosse.  Derrida.  Foucault.  Sterne.  

Imagination.  Philosophy.  Fiction.

WHAT CAN BE THOUGHT? (Philosophy) “on the verge”

WHAT CAN BE WRITTEN? (Literature) “on the verge”

Maybe I’ll just read.  Perhaps suicide (stop).  Perhaps create.  Perhaps avoid.  Perhaps participate with others (friends, family, children, pets, nature).  Perhaps think and drink.

WHO CARES?  NO ONE.  NO SOME.  DO I?

Selected “foods for thought”:

The Event – Martin Heidegger.  Monsieur Teste – Paul Valery.  Replacement – Tor Ulven.  Inexhaustibility and Human Being – Stephen D. Ross.  The Meridian – Paul Celan.  Verge of Philosophy – John Sallis.  and so on.  Potentials.

Directions for staying alive (as human being).  Follow something: desire.  hope.  beauty.  sex.  belief.  pleasure.  pain.  Try something.

Read history and imagine imagining a world that sensible.

Read science and imagine imagining a world that ordered.  

Read literature and imagine imagining a world.  

Read philosophy and imagine imagining that many questions.  

Read religion and imagine imagining that many answers.

Stop.  Say your own.  (thoughts, imaginations, feelings, perceptions) to someone or to nothing (write them).

And so on.

For no reason.

But perhaps staying alive / living a little longer.

WHAT DO YOU WONDER?  DESIRE?  WISH?  PROPOSE?

And so on.

WHO CARES?             DO YOU?

And so on…

…for no reason.

Thus the life of “the writer,” “artist,” “human,” “scientist”… WHATEVER – WHOMEVER HUMAN (so-self-called) BEING.

In other words… when we encounter “literature” we (perhaps, perhaps probably) are engaging a fellow human being in the NOW – amidst an odd tactic of applying (through a strange and meddlesome nigh-universal ambiguous medium) the operation of EVERYTHING he/she knows or has experienced to the point-of-NOW.  And we (weird, individualized organisms) either find correlation and correspondence with (some or much or little) of their ‘whole’ knowledge & experience (and thus, perhaps, probably, are moved by or like them) or… find very little correspondence or similarity with our ‘own’ knowledge and experience and therefore consider them banal, useless, uninteresting, untrue, or off-putting.

WHO CARES?  DO YOU?

I do.  It keeps me alive, surviving.  I drink, I read, I think.  Attempt to forget obligations, relations, and responsibilities (I can’t).  That I’m a FATHER, that i exist in a socio-economic scenario that requires the bulk of my life be passed in “bullshit jobs” that somehow appease ‘Powers-That-Be’ and allow me a place on earth and a terrible fight to try and defend or spend ANY portion of existence doing-what-i-want, or what ‘fulfills’ or causes me happiness / gladness / joy in being alive…

When I’m able to “snare,” “steal,” “TIME” – I read and write, make love, or drink alcohol – because these things make me feel GOOD or WELL as the sort of being I am.

Why is it I feel compelled to sneak, steal, or justify what gives me joy in being? (whether plant, ant, mammal, or any other cellular construction)?

I wouldn’t ‘rather’ be famous, or a president, powerful, or a businessman, artist, or ‘professional,’ or anything.  I REALLY just want to be a human-in-society valuable-to-the-rest because I happen to be one who loves language, literature, pretending, fiction, inventing, thinking, imagining what might be – this-wise, that-wise, which-wise, whom-wise, where-wise, when-wise…

WHY IS THIS NOT VALUABLE?  ACCEPTABLE?  SUPPORTABLE?  along with each alternate things-one-might-want-to-be as valuable-to-the-cumulative…

Humans seem to be multiplicitous, variable, and plentiful.  Many wish/desire/like to be strong, rich, beautiful, productive, etc.  Why can not there also be room for those who desire neither usefulness, beauty, riches, or power… but CANS at the verges… of language, thought, imaginings?  And are these really so different from those pushing edges of other characteristics?

Suddenly this entry feels like a wallowing or a requesting of pity.

That is not the feeling.

“I am composed of an unfortunate mind which is never quite sure that it has understood what it has understood without realizing it.”

  • Paul Valery
Advertisements

Continuing Reading Writing

“an ‘absoluteness of absence’ if writing is to be possible” – Jacques Derrida

Certain works by Samuel Beckett eventuate an environment of silence for me.  For instance, the brief poem “What is the Word?”

What Is the Word

folly –

folly for to –

for to –

what is the word –

folly from this –

all this –

folly from all this –

given –

folly given all this –

seeing –

folly seeing all this –

this –

what is the word –

this there –

this this here –

all this this here –

folly given all this –

seeing –

folly seeing all this this here –

for to –

what is the word –

see –

glimpse –

seem to glimpse –

need to seem to glimpse –

folly for to need to seem to glimpse –

what –

what is the word –

and where –

folly for to need to seem to glimpse what where –

where –

what is the word –

there –

over there –

away over there –

afar –

afar away over there –

afaint –

afaint afar away over there what –

what –

what is the word –

seeing all this –

all this this –

all this this here –

folly for to see what –

glimpse –

seem to glimpse –

need to seem to glimpse –

afaint afar away over there what –

folly for to need to seem to glimpse afaint afar away over there what –

what –

what is the word –

what is the word

– Samuel Beckett

Perhaps the what where is always what we’re attempting to tell.  Perhaps that’s eternal recurrence / return.  The when is always known.  Always NOW.  The folly, truly folly, of our attempt to tell the what where that is our being, our being NOW, always being NOW, no when needed, no whom known, just what where presently…occurring.  Is this always what we are attempting to say?  To find words for?  To tell?  What where, now?  Always NOW – whether reading or writing, assailing past, present or future – it is NOW that it’s occurring, but what? where?  And what is the word?  What are the words for this what where we’re attempting to tell?  This is my writing, reading – in a way, it seems, the all of it – my folly.  Perhaps what where is unnameable.  

And so I also offer a reading – for even as soon as I re-read my own writing – I cannot remember the whom or what-where of the writing.  Because the reading is always right NOW.  This reading – a chapter from Mark C. Taylor’s book Tears (as both eye-leak or suffering and rift-split-rip-“tear”) entitled “How to do Nothing with Words”  (my own copy a rainbow of highlights and symbolized marginalia – like all that I read significance to). If this sort of thing – this philosophizing or wondering writing – is not of your interest – don’t bother.  But if it is kind of intriguing, or causes curiosity, I find this chapter a compelling and admirable attempt to descry the “what is the word?” tussle I constantly struggle and strive for enacting the telling what where.  

Tears

(click image for chapter, or here: How to do Nothing with Words)

And, after all that…here is neither, a short writing by Beckett to go on with…

neither

To and fro in shadow from inner to outershadow

from impenetrable self to impenetrable unself by way of neither

as between two lit refuges whose doors once neared gently close, once turned away from gently part again

beckoned back and forth and turned away

heedless of the way, intent on the one gleam or the other

unheard footfalls only sound

till at last halt for good, absent for good from self and other

then no sound

then gently light unfading on that unheeded neither

unspeakable home

– Samuel Beckett

Thank you for your time.  It goes on…

 

Seasons

What’s happening now…and why I’m not writing much – reading, teaching, librarying, parenting…

Recycling…in retrospect

Two variations of older, longer works…trying to remember possibilities…

Words Gestures Order

Fragments

Words & Gestures

 

A Far Story – Samuel Beckett

I wait for me afar for my story to begin, to end, and again this voice cannot be mine.  That’s where I’d go, if I could go, that’s who I’d be, if I could be.

– Samuel Beckett

Beckett - Stories Texts Nothing

Nos. 3 & 4, Texts for Nothing by Samuel Beckett

it doesn’t get better than this…unless it’s more of beckett

Current Reading Sampling – 2016

I realized I have neglected this ever-changing list…for any who might be interested.  So I updated it today…

2016

“I decided to continue drinking and living in just this way.

My whole life long”

– Georges Bataille

Chin-deep in labor, family, relationship & studies…

Works for survival:

Writers, Antoine VolodineAntoine Volodine, Writers

Maurice Blanchot, The Space of Literature

Samuel Beckett, The Grove Centenary Editions

Franz Kafka, I Am a Memory Come Alive

Enrique Vila-Matas, Bartleby & Co.

Montano’s Malady

Gilles Deleuze & Felix Guattari, A Thousand Plateaus

William James, The Writings of William James

Mikhail Bakhtin, Works of

Edmond Jabes, The Book of Questions

Works that expand:

Friedrich Kittler, Discourse Networks, 1800/1900

William Franke, A Philosophy of the Unsayable

Ian Hodder, Studies in Human-Thing Entanglement

Paolo Virno, When the Word Becomes Flesh

Werner Hamacher, Minima Philologica

Giorgio Agamben, The Coming Community

Paul Feyerabend, Against Method

Parataxis / Parallaxis

parataxis, n.

The placing of propositions or clauses one after another, without indicating by connecting words the relation (of coordination or subordination) between them, as in Tell me, how are you?.

“PARATAXIS, N.” OED ONLINE. OXFORD UNIVERSITY PRESS, DECEMBER 2015.

Parataxis is a literary technique, in writing or speaking, that favors short, simple sentences, with the use of coordinating rather than subordinating conjunctions (from Greek for ‘act of placing side by side’; from para, ‘beside’ and tassein, ‘to arrange’; contrasted to syntaxis or hypotaxis).

It is also used to describe a technique in poetry in which two images or fragments, usually starkly dissimilar images or fragments, are juxtaposed without a clear connection. Readers are then left to make their own connections implied by the paratactic syntax.

WIKIPEDIA CONTRIBUTORS. “PARATAXIS.” WIKIPEDIA, THE FREE ENCYCLOPEDIA

parallaxis, n.

Difference or change in the apparent position or direction of an object as seen from two different points; (Astron.) such a difference or change in the position of a celestial object as seen from different points on the earth’s surface or from opposite points in the earth’s orbit around the sun. Also: (half of) the angular amount of such a difference or change; (Astron.) the angle subtended at a celestial object by the radius of the earth’s orbit, giving a measure of its distance from the earth; any of various similar measures of distance calculated by methods incorporating the motion of the sun relative to the local region of the galaxy, the proper motion of the observed body, the motions of a cluster of bodies having similar distances and speeds, etc.

“parallax, n.” OED Online. Oxford University Press, December 2015. Web. 7 March 2016.

 

Parallax is a displacement or difference in the apparent position of an object viewed along two different lines of sight, and is measured by the angle or semi-angle of inclination between those two lines. The term is derived from the Greek word παράλλαξις (parallaxis), meaning “alteration”.  A parallax is the difference in the angular position of two stationary points relative to each other from different viewing positions.

Wikipedia contributors. “Parallax.” Wikipedia, The Free Encyclopedia. Wikipedia, The Free Encyclopedia, 28 Feb. 2016. Web. 7 Mar. 2016.