Plain Burned Things

A Poetics of the Unsayable
Leah SOUFFRANT
Date de publication
7 mars 2017
Résumé
"Leah Souffrant, with laudably quiet gestures, reaches lyrically into literature's silent places to delineate the thermodynamics of the lacuna. Working the pauses, she does a Duras: nimble, stunned, alert. Hats off to Souffrant for the elliptical beauty she unearths and--with interpretive deftness--performs!" – Wayne KoestenbaumHow might the unsayable become known to us? In the arts, silence and blank space attempt to convey what can't be said, making one revelation even as another is withheld. In this meditative study, Leah Souffrant explores how creative forms of reticence can communicate knowledge and create experience. Attending to word and image and what hovers between, Souffrant describes an aesthetics of attention to absence and presents a poetics of the unsayabl ... Lire la suite
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Date de première publication du titre 7 mars 2017
ISBN 9782875621108
EAN-13 9782875621108
Référence 121085-96
Nombre de pages de contenu principal 138
Format 16 x 24 x .8 cm
Poids 305 g

Prologue

Introduction: Plain Burned Things: Attending to the Unsayable

Chapter 1: No Mark, Nothing: A Maternal Poetics of the Unsayable

Attending to Blank SpaceAttending to Blank Space: the maternal I is ontological
Sylvia Plath's Being-Saying: Mother as Shipwrecked
Plath's Surrealist Prospero
Dark Ceiling: Plath's "Child"
It is a terrible thing to be so open: Plath's Three Women
Jean Rhys's Being-Saying: Not-thinking Maternal Grief
Jean Rhys's Good Morning Midnight: no mark, nothing
Jean Rhys's Voyage in the Dark: Everything drops away
Rachel Zucker's Being-Saying: They say less screaming

Chapter 2: You Saw Nothing: An Erotics of Witness

Perception as reaching toward
What does it mean to see?
Iconographies of the Unsayable: Writing is also not speaking
The invisible meets the felt, Or what "pricks" us
When you hear nothing: Silence is film's Unsaying
The Touching Testimonial: Erotics as Unsayable witness
When witness is a liminal space
Caesura: Plain, Burned Things

Chapter 3: Poetic Time Machine: Translation as Interpretation of Interstitial Space

Interstitial Space: Translation as ekphrasis means translation as poetry
Attending to Omission: Translating across gaps means translating into gaps
Spacing and Pacing: What you see is not what you get
Anne Carson's Time Machine
Eurydike's unbracketing of Mrs. Ramsay
Behind the Transparency

Chapter 4: A Looking Through "The Glass Essay": Reaching toward absence might be seeing the Unsayable

She looks at looking through glass
"I": Awakening the reader's attention
"She": Triangulating Women, Connections & the Barriers Between Them
"Three": The Triangulation of reach embodied
"Whacher": Paying attention to the Unsayable
"Fumbling": Encountering absent presences
Whacher of Heartache: Poetics of the Reach

List of Images

Acknowledgments

Bibliography

Index

"Leah Souffrant, with laudably quiet gestures, reaches lyrically into literature's silent places to delineate the thermodynamics of the lacuna. Working the pauses, she does a Duras: nimble, stunned, alert. Hats off to Souffrant for the elliptical beauty she unearths and--with interpretive deftness--performs!" – Wayne KoestenbaumHow might the unsayable become known to us? In the arts, silence and blank space attempt to convey what can't be said, making one revelation even as another is withheld. In this meditative study, Leah Souffrant explores how creative forms of reticence can communicate knowledge and create experience. Attending to word and image and what hovers between, Souffrant describes an aesthetics of attention to absence and presents a poetics of the unsayable.Through the work of Anne Carson, Marguerite Duras, Sylvia Plath, Jean Rhys, Lorna Simpson, Rachel Zucker, and others, Souffrant investigates creative gestures and critical assertions at the intersection of phenomenology, feminism, and form. She invites readers to dwell in the spaces created by works that withhold explication, remain silent or blank, and discover the understanding made available to us in such spaces when we give them our attention. While acknowledging that language inevitably is inadequate, Souffrant examines the ways in which creative works nevertheless translate experience into form, and can -- echoing Maurice Merleau-Ponty -- "make us advance toward" richer understanding of what is often most difficult to grasp.

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