“we are dealing with living objects of art, they have a shadow, but this must be proven in the practice of language, I say”. Reading Friederike Mayröcker’s brutt, or The Sighing Gardens, translated by Roslyn Theobald. Every written word announces: I have thought this, an affirmation of what appears and disappears in thought. What, I often wonder, would be my character, without the affective shadow of literature?
Mayröcker—”so much to write, suddenly everything is multiplying in front of my inner eye, everything seems to have CAUGHT FIRE again”—is one of a few writers that leave me with the sense that there are things to be sought in literature that have yet to be described. Beckett, at his best, of course; Lispector; Llansol. The old chestnuts. It takes just a simple shift of perspective to stop looking for a pattern in the carpet and see all one has read, all one has become and will be, as the resonance of one vast composition. Or is this a symptom of my immersion in McGilchrist earlier this year?
so we bear witness,
Despite ourselves, to what is beyond us,
Each distant sphere of harmony forever
Geoffrey Hill, Funeral Music
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