contains writing that ranges from the lyrics of her first collection "Identi-Kit," published when she was twenty, to ventures in concrete poetry, some translations from the writers (she had a special appreciation for Denis Roche), and her later books "Language-Games" and the posthumous "On the Periphery." One of her qualities — possibly to her detriment as a poet — is that she is very , with an almost Johnsonian sense of the established meanings for words, not unlike another poet who is also interested in the non-assimilable parts of poems, Charles Bernstein, who quoted in the establishment of his own theory in the seminal essay "Artifice of Absorption."
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. "Artifice of Absorption," a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. "Poetics is the continuation of poetry by other means," he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form--a poetic language that resists being easily absorbed into the conventions of our culture.
This rich collection is far more than an important work of criticism by an extraordinary poet; it is a poetic intervention into criticism. “Artifice of Absorption,” a key essay, is written in verse, and its structures and rhythms initiate the reader into the strength and complexity of the argument. In a wild variety of topics, polemic, and styles, Charles Bernstein surveys the current poetry scene and addresses many of the hot issues of poststructuralist literary theory. “Poetics is the continuation of poetry by other means,” he writes. What role should poetics play in contemporary culture? Bernstein finds the answer in dissent, not merely in argument but in form—a poetic language that resists being easily absorbed into the conventions of our culture.
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Roughly,Twice upon a time – is Raynal's remarkable Zanzibar feature. Wollen rightly regards it as one of the most astonishing films of the period. Raynal began it as a filmed diary of my encounter with a stranger in Barcelona, in the company of a cameraman-accomplice, André Weinfeld, the camera operator on Garrel's Marie pour Mémoire . Deux Fois spontaneously draws into itself many influences, histories and traditions. It has been analysed as a deconstructive film and a feminist essay on 'woman as sign', but Raynal also uses less modish sources, such as the Surrealism of Buñuel and Cocteau, as well as a theatricality inspired by Rivette. The film is not only a formalist tour de force, but also mytho-poetic, ritualistic, incantatory – not to mention ironic, performative and mocking (its Warholian side). Beyond what we will never know or understand about this often deliberately cryptic film, the core, phantasmal logic which holds it together is built from various motifs – storytelling, theatre, the couple, dreams and fantasy, the figure of the child – that suggest a new version of Lewis Carroll's Alice in Wonderland. A woman enters into a perpetual metamorphosis, in which she becomes a child. She enters into this self-perpetuating, auto-erotic ritual via all the masks and motions of artifice. However, such regressive liberation into the imaginary realm is always threatened by instability and danger: this woman is constantly drawn back to the public, societal scene of adult sexuality, with its threatening, mysterious, alluring masculine others, its set roles and burdens. Deux Fois is about the difficult trials and passages of the 'single woman' – her absorption into herself and her relations with others, both modes of being viewed as equally impossible.
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Artifice and Representation in Ambient Literature ..
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