My poetics in a nutshell. “Whoever crosses the space offered to the senses reconnects with a sacred water that flows through each thing”—-Lev Shestov. This “space” is the between which is reached after one has worked through the ‘senses of being’ (Desmond) by exploring in sequence the objective world, the aesthetic happening that illuminates it for us, and our drive to reduce the mystery of this world to a definitive concept.
On the brink of despair — the drive of the will exhausted— it sometimes happens that by letting things be we become aware of a fluid music as the things of this world start to sing, constructing the space Shestov refers to here.
For the poet, that space is the poem. The poet leads his reader, like Virgil in Dante, step by perplexing step, but the paradox of time —- as movement towards a horizon AND as luminous immanence —- mixes the Christian consciousness and the pagan with remainder.
crossing the ice with Eros barefoot
keep your mitts off my Plato mythlover
analysis loosens me your low laughter
On your thigh I count syllables touched
Charles Tomlinson captures the humor and joy —- and self-deprecation—- of Horace’s image of himself as a between in Ode II20, final poem of book 2. “Biformis vates.” (Horace in English, Penguin Books, 1996, 294)
The art of composition is the art of following. A work of art results from following one mark or phrase with another. The grammar is inherent in the following and inseparable from it — that’s what makes composition an art. Transitions are where the rubber hits the road. Wittgenstein and Beckett explicitly name the process ‘going on,’ (I can’t go on, I’ll go on).
As suggested in their compositions, going on becomes foregrounded when the always already established concepts are compromised by the between. It’s what’s between the series that now constitutes the rule! And at some point, going on becomes impossible as such because there is no determinative map to follow. That’s when metaxyturn goes outside the grammatical box of tools; the following self releases the composition from its will (gives UP) when the space of the composition replaces the linear autonomous steps of following with community of being. The fullness of the work is an over-fullness.