Night Sky V, The

"Attempts to dominate or monopolize the character of what is meaningful constitute a profoundly political throw perhaps the most important throw out of the late modern era, when the endeavor over material goods has stretch outed most explicitly to the domains of language and communication, and when the spectacular casts a large shadow above small and quotidian matters."1

"Furthermore, there are an infinite number of worlds the couple like and unlike this world of ours. For the atoms being infinite in number, as was prov already, are borne far on the outside into space. For those atoms, which are of similar nature that a world could be created without of them or made by means of them, have not been used up either upon one world or on a limited number of worlds, nor again upon the worlds that are alike, or upon those which are different from these. in the way that that there nowhere exists an obstacle to the infinite number of the worlds."2

"Artifacts are congealed ideology."3

1 Ragged

Perhaps I should begin to make amends for the zigzag and apparently arbitrary inclusions in these, the foregoing, essays. Trusting to intuition s links, and my own game with the bring under rule the topic, probably has gone too far, or maybe not far enough. Attention deficit disorder, a turn to digress; perhaps just a desire to experience things as an endles plant of beginnings, with the implied promise and permission; a following of dawns, of first kisses, a constellation without the lines drawn between stars.

Against the faculty of perception of belatedness comes the desire for earliness, to be a creature born above and over into birdsong and day-star breaking over the far ridge, to perceive the turn of the earth.

The romance of the make go round whether it is toward or away. My turn round your turn.

Paul Celan's turn:

"The piece of poetry holds its ground. . the poem holds its surface of land on its own margin. In order to sustain it constantly calls and twitchs itself back from an 'already-no-more' into a 'still-here.'

This 'still-here' can solitary mean speaking. Not language as similar but responding and-not just verbally-'corresponding' to something.

In other words: language actualized, plant free under the sign of a radical individuation which, however, remains as aware of the limits drawn by dint of language as of the possibilities it make opens

This 'still-here' of the piece of poetry can only be found in the work of author of poemss who do not forget what they speak from an angle of reflection which is their have a title to existence, their own physical nature.

This exhibits the poem yet more clearly as individual person's language becomes shape and, essentially, a neighborhood in the present."

Celan's still-here implies a spatio-temporal nearness the still evoking the temporal stasis of duration, and the here fixing that stasis in place. The piece of poetry on this reading might be what greatest in quantity fundamentally stands for, or stands in for, the fact of someone's existence. The someone here is not necessarily the author-that is, the metrical composition need not be in a literal faculty of perception "about" the author-but a re-enactment of the poet's self-witnessing in, or as, language. It is as if the author of poems were composing her or his have a title to ghost, and sending it on the outside to the place where it vanishes, leaving behind the herald of its having been. Jean-Luc Nancy: "present is that which occupies a place. The place is place-site, situation, disposition-in the coming into space of a time, in a spacing that allows that something advance into presence, in a unique time that breeds itself in this point in space, as its spacing.")

The metrical composition is a temporal-spatial alignment of a given self with language, and this alignment is similar that the poem exactly configures that self's transformation or inscription into a linguistic experience. Here aura's exces spills from the body questioning whether an idea of exact alignment is sufficient, as if a metrical composition were an object that cast no shadow, or a shadow from which the reality had been withdrawn, a residual vicinity whose materiality is a kind of illusion or fiction. Somewhere is the desire to separate the metrical composition from the poet, while still allowing for a poetics of identity which does not inhibit, conceal or overdetermine the poem's meaning.

Celan continues:

"The metrical composition is lonely. It is solitary and en route. Its author stays with it. Does this true fact not place the piece of poetry already here, at its inception, in the clash in the mystery of encounter?

The piece of poetry intends another, needs this other, urgencys an opposite. It goes toward it, bespeaks it.

For the metrical composition everything and everybody is a figure of this other toward which it is heading.

The attention which the metrical composition pays to all that it rencounters its more acute sense of detail, outline, make color, but also of the tremors and hints'-all this is not, I think, achieved by the agency of an eye competing (or concurring) with at any time more precise instruments, but, rather, by means of a kind of concentration mindful of all our dates.

'Attention,' if you allow me a adduce from Malebranche via Walter Benjamin's essay upon Kafka, 'attention is the natural prayer of the soul'

The piece of poetry becomes-under what conditions-the poem of a one who still perceives, still turn rounds towards phenomena, addressing and questioning them. The piece of poetry becomes conversation-often desperate conversation.