Published just months after Armand Schwerner’s death on February 4, , the Selected Shorter Poems and the first complete edition of The Tablets together. THE TABLETS is his answer. Armand Schwerner has been “reconstructing” these fictional Sumero-Akkadian inscriptions, apparently from the time of The Epic of. No selection of this abbreviated length can convey anything like the full richness of Armand’s poetry. The Tablets themselves, despite the controlling presence of.
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Tablet X consists of 23 lines, all in a combination of “untranslatable,” “missing,” or “confusing. To see what your friends thought of this book, please sign up. Susan SontagGeoffrey Movius. Thus often the line between redactor and author is hard to draw” Paperbackpages.
PennSound: Armand Schwerner
Armahd us to support engaged discussion on critical issues. Jordan rated it it was amazing Jun 16, No amount is too small. The context of sober translation creates mode suitable for seductions by the disordered large which is the contemporary, and the narrative, which is out of honor in the most relevant modern poetry.
The Tablets by Armahd Schwerner. Some days I do not doubt that the ambiguity is inherent in the language of The Tablets themselves; at other times I worry myself sick over the possibility that I am the variable giving rise to ambiguities No trivia or quizzes yet. There are no discussion topics on this book yet.
Just a moment while we sign you in to your Goodreads account. Nor are the speakers of The Tablets certifiably congruous with one another—or even with themselves. Merve EmreDeborah Chasman.
Aarika rated it really liked it Dec 08, An Interview,” American Poetry Review The Tablets October 1, Andrew Zawacki. The Tablets incarnate a new genre: Is that distinction stupid? Refresh and try again. Always trusting in the fundamental ground of the human body, Schwerner made translation in its broadest sense into his metier.
Open Preview See a Problem? The personal essay is not dead, but has it traded And that’s the main problem; that’s also the problem of Western civilization. While we have you Armand Schwerner, The Tablets.
Schwerner’s poetry, from his early work in The Lightfallif personaland Seaweedand on through the various editions of The Tabletspresents a great range of forms and procedures.
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These small-press editions have long been unavailable. Schwerner’s metafictional fun with his character is one indication that the magical power of writing holds even in the realm of “objective” modern schwernner.
Armand Schwerner: The Tablets
Ode to Failure Stacy Szymaszek. No need to represent the encounter fablets an artifact when the text itself is that artifact” “Archaeologies of Knowledge: Unlike its Modernist precursors, however, The Tablets does not conform, as critic Brian McHale has explained, to the Freudian archaeological trope that the deeper one excavates, the closer one atblets to the truth. Thanks for telling us about the problem.
Quite apart from distorting the work itself, vocal performance further problematizes the polyvalent, palimpsestic notion of “the work itself,” though it does frustrate easy listening.
The hieroglyph for “god” may be translated “pig,” and while the capitalization is certain, the number regarding “One” or “Ones” is not. On occasion it almost seems to me as if I am inventing this sequence, and such a fantasy sucks me into an abyss of almost irretrievable depression, from which only forced schserner unpleasurable exercises in linguistic analysis rescue me VIII.
Five Poems Jenny Grassl. The trouble with XXVII is that while the electron microscope testifies to the structural origin of its nine “dilapidated” clay cylinder-seals, “it does not absolutely guarantee the congruence of the materials. Jan 23, Dead rated it it was amazing.
Armand Schwerner – Wikipedia
Schwerner embraced the universalizing spirit of ethnopoetics — the dream of total translation, total performance, total synchronicity — while at the same time implicitly acknowledging its impossibility. The tableets between subject matter and procedure, though, is precisely what is unsettled by The Tabletswhich agitates any facile distinctions among fact, artifact, and artifice.
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The entirety of track 7 runs: Schwerner does not relegate this sense of the magical to the primitive or the archaic alone, however, and this is one of The Tablets ‘ greatest strengths. But what is to be found consistently, both on the page and in Schwerner’s extraordinary readings, is the underlying assumption that language, particularly spoken language, embodies a kind of primacy which, when discovered anew a discovery which is to be made endlesslycan restore a fundamental sense of wonder to human existence.
Brian rated it it was amazing Jul 28, Here the genre of the archaeological is undone by the sense that whatever could be findable will not be findable—the meaning of the digs progressively wafting into common air—not without appearance of the epic, the psychodramatic, the irredeemable word-pain. But the sense of otherness that obtains between subject and utterance is also very ancient, going back to the shaman’s trance, the possession of the tribal poet by a god, ancestral spirit, or totemic power.
But Schwerner’s understanding of cultural change and historical rupture is too deep, too vexing, to allow him to rest content within the moment, even a moment that may lead to enlightenment.