Beyond Logos - Babble Reigns

'Outside Logos, says Aristotle, is primary matter, the principle of indefiniteness, pure potentiality, absolutely unknowable in itself. Beyond the boundary of the eidos with it's unitary formula (logos), unformed matter would appear infinite predication, a limitless spread of particularization, which would be nothing but babble.

The flux is the flux of particulars.

The transcendental function of language is the heightening of the abstracting and generalising power of words.

To know is always to categorise, and even for Aristotle the name of that which guarantees the unity and self identity of this individual here is the same as the name of it's membership in a category: eidos means both form and "species".

All philosophy takes place within the medium of nous or Logos, within which form is possible.'

-- Henry Staten

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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 poetic verse’

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 ridículo A los rayos del sol, Azote de las fuen

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 astonished

Aporetica

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