The Alphabet Is To Blame

Western history was shaped for some three thousand years by the introduction of the phonetic alphabet, a medium that depends solely on the eye for comprehension. The alphabet is a construct of fragmented bits and parts which have no semantic meaning in themselves, and which must be strung together in a line, bead-like, and in a prescribed order. Its use fostered and encouraged the habit of perceiving all environment in visual and spatial terms – particularly in terms of a space and of a time that are uniform – c,o,n,t,i,n,u,o,u,s and c-o-n-n-e-c-t-e-d. The line, the continuum became the organising principle of life. ‘As we begin, so shall we go.’ ‘Rationality’ and logic came to depend on the presentation of connected and sequential facts or concepts. Marshall McLuhan

Comments

From Academy to the Street, From Poetry To Prose

From academy to the street, from poetry to prose - Nicanor Parra – ‘My own antipoems use this blank verse. I’ve often been asked what an antipoem is and the most frequent response I’ve given, without realising what I was saying is – “an antipoem is quite simple a dramatic utterance”, and a dramatic utterance, we would have to add, is a Shakespearean blank verse. Or rather, it is a hendecasyllable that lengthens and shortens, and that oscillates between the academy, the street and the fairground. I’ve always worked with these elements: I’ve even managed to combine verse with eleven syllables and one with one syllable, and verses with prose. I thought it was a great invention of mine, but the Elizabethans were already working with these methods – Shakespeare used them in King Lear , where a large percentage of the work is written in prose, without us fully knowing what is verse and what is prose. This is very important: we could say that they are prosaic verses, or poet...

Breaking Heads - Two Rompecabezas From Nicanor Parra

PUZZLE by Nicanor Parra I give no one the right. I love a piece of rag. I shift tombs back and forth. I shift tombs back and forth. I give no one the right. I'm a ridiculous sort In the light of the sun, The plague of soda fountains Dying of rage. I am a hopeless case, My own hairs accuse me On the bargain altar The machines give no pardons. I laugh from behind a chair, my face fills with flies. I am the one who can’t say what he means Talking in long rows of what. I stutter, With my foot touches a sort of foetus. What are these stomachs for? Who made up this mess? It's best thing is not to let on. Thinking one thing I think something else. (Translated by W.S. Merwin) Rompecabezas No doy a nadie el derecho. Adoro un trozo de trapo. Traslado tumbas de lugar. Traslado tumbas de lugar. No doy a nadie el derecho. Yo soy un tipo ridíc...

The Strange and Compelling Inner Life of Clarice Lispector

Dedication - Cuando a la casa del lenguaje se le vuela el tejado y las palabras no guarecen, yo hablo When the house of language has its roof blown off and words do not shelter, I speak - fellow Latin American writer and contemporary, Alejandra Pizarnik, "Fragmentos para dominar el silencio” (Fragments to overcome silence) --- “ALL THE WORLD BEGAN WITH A YES. ONE MOLECULE SAID YES TO ANOTHER MOLECULE and life was born. But before prehistory there was the prehistory of prehistory and there was the never and there was the yes. It was ever so. I don’t know why, but I do know that the universe never began. Make no mistake, I only achieve simplicity with enormous effort” - From The Hour Of The Star (1977) --- When I read Clarice, I’m reminded of Montaigne - "I continually observe myself, I take stock of myself, I taste myself … I roll about in myself” Maurice Merleau-Ponty described Montaigne as someone who put "a consciousness astoni...

Aporetica

Search This Blog