The Endless Theory of Days: The Art and Poetry of Gerard by Michael Bishop
By Michael Bishop
Desk OF CONTENTS Foreword bankruptcy 1: From sizzling canines and Bananas to Deterioration and Alteration: shape, inspiration, Being bankruptcy 2: Joaquin's Love Affair bankruptcy three: The Cryptic and the mandatory, Deambulation and Sticks bankruptcy four: From Coffins to Italiana and Riggings, store Curtains and Narwa bankruptcy five: Accompanying the opposite: From Chardin, Goya and Caillebotte to Bonnard, Crane and Roud bankruptcy 6: Falling and Flowing bankruptcy 7: The Self followed: From Robbe-Grillet, Rossi and Roche to Comm??re, Bancquart and Bonnefoy bankruptcy eight: Excavation and Forgetting, Embankment and Abyss bankruptcy nine: From Shadows, Interiors and Seasons to Cairns, Forests and Nielli bankruptcy 10: Questions of Presence and Manners of Darkness bankruptcy eleven: Leafings, Jungles and Herbarium bankruptcy 12: at the present time chosen Bibliography
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Extra resources for The Endless Theory of Days: The Art and Poetry of Gerard Titus-Carmel (Chiasma 22)
14 See Selected Bibliography for details. Accompanying the Other: From Chardin, Goya and Caillebotte to Bonnard, Crane and Roud 47 himself, with a “burning sense of failure” (LE, 29), even impotence, betrayal: the “wound of [one’s] own infiniteness” thus leaves its scar on the most exquisitely beautiful skin, and Titus-Carmel quotes Ruskin’s view that the limit of one’s own failure is the limit of the greatest creative accomplishment (cf. ”, “You will go down the long staircase that leads to the monster’s suffocating belly, seeking to complete the construction of your mystical harp”, “Sleep, Hart, shut your eyes to the world that could not offer you welcome”, – an address, with the delicate intimacy of the French tu, manifestly revealing a certain deep sharedness, a moving affinity which the materially vaster accomplishments of Titus-Carmel in no way alter; 11: Hart Crane’s description of his own work and their linguistic quirkinesses as “incunabula of divine grotesqueness” resonates with Titus-Carmel no doubt in some larger way, revealing at once Crane’s own dividedness over his own originality, and that feeling so empathetically experienced by those writers and artists whose wings take them close to the searing blaze of their glimpsed alterity, their blinding divinity; 12: what then does Crane hope to achieve?
In this way Titus-Carmel further develops his already intricate equations of model and copy, whilst drawing (…) our attention to the fact that the very act of drawing is an act of tensional (non-)convergence of the two, as well as a reductive, compacting, down-scaling of the what, the is-ness art’s gesture turns into art – and, thus, a new beingness in further tensional relation to what we think to be raw being. Drawing and making, upon the virgin surface of art’s support, as that erasure, that cancelling and crossing out that the title Agrès & biffures evokes and that Titus-Carmel’s various notes on drawing and writing can meditate…: art between presence and absence, making-doing-knotting and unmakingundoing-“notting”.
Gilbert Lascault sees a conscious shift from concentration to “dispersal” and diversion, a scattering, a wider dissemination of creative perspective and exploration. After stubborn “perversity”, a release and loosening of energies, despite a continued rigour of attention. Suite italienne, for example, turns to a partial use of red hematite in the top drawing; an original use of tracing paper as a veiling device; an incorporation of language into the figural space, with names of certain Italian poets presented en miroir, readable, as it were, only from the quasi-Mallarméan “tomb” of their textual, interior space; a disconnection – yet inevitable connectedness in the same pictorial space – of language and drawings; the offering of a second drawing, given below, this time unveiled, more rigorously defined than its sanguine counterpart above (which was drawn more freely and virtuosically, de chic), with the poet’s name now written legibly.