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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Sorry, Not Sorry Robin D. The voices of the made thing, poem, object, need no ascription by the maker. Yet glimpses are all readers are given, as other impediments to “truth” are encountered. If you lift your arms in grief may they never come down and you be known as Idiot Tree and may you never die 30 And so it goes for another three stanzas: How does the sacred arise out of the profane, how does the profane enhance our sense of the sacred?
Aarika rated it really liked it Dec 08, The edges do not meet in three places.
It is at such points that one feels the modernity of The Tabletsand not merely in the anxieties of its ancient speakers. About the diagrammatic Design Tablet he notes, “[M]y long experience warrants that concentrated meditation in it bears metaphysical rewards of a high order,” and in XXVII he reminisces, “I will never forget the vibrations, the shimmerings, that overmastered me when, my arms outstretched, I first experienced the pressure of one of these Seals on the palm of my left hand.
Geoffrey Movius in conversation with Susan Sontag. When I was young they would praise just about all I’d say, as if I breathed with them; my times are bad, the past is a joke, former admirers hound me, alone and treed what’s left of my ties with them who praised anything out of my mouth — my voice now that life floors me and they cut my best song, seeing what, lies?
Body and spirit veer about and collide in the text in ways that continually expose the inadequacy of modern religious thought regarding our somatic being.
If you like what you read here, help us keep it free for everyone by making a donation. 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.
Is that distinction stupid? But the sense of otherness tablfts obtains between subject and utterance is also very ancient, going back tbalets the shaman’s trance, the possession of the tribal poet by a god, ancestral spirit, or totemic power.
The Tablets by Armand Schwerner
Andbecause he was a pastor and a “divine,” Henrik L. Here the genre of the archaeological is undone by the sense that whatever could be findable will not be findable—the xchwerner of the digs progressively wafting into tabelts air—not without appearance of the epic, the psychodramatic, the irredeemable word-pain. On occasion it almost seems to me as if I am inventing this sequence, and such fantasy sucks me into an abyss of almost irretrievable depression, from which only forced and unpleasurable exercises in linguistic analysis rescue me.
San Diego, Junction Press, Poetry is the producer of joy, its reader participates in the creative act.
From the tone of the address, Foosh is, in all likelihood, some sort of deity, and there is a note of intimacy in the passage that is reminiscent of a patriarch’s or prophet’s speech with God in the Hebrew Scriptures. There are no discussion topics on this book yet. He has a suspicion that his inclination towards meaning must find other paths from those he has been given schwernrr his own modes of scholarship and research, his own culture, his own theological antecedents.
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While we have you Weekly Newsletter Poetry Matters: Do I take advantage of the present unsure state of scholarly expertise? Two Paths for the Personal Essay The personal essay is not dead, but has it traded But if this god’s attributes keep changing, then a sense of uncertainty enters into the life of the speaker, leaving him with nothing but headaches, worry, and abuse. When Schwerner describes the artifact’s confronting the maker as an Other, he reflects a typically postmodern scepticism regarding the unitary self and its expression in the poem.
Boston Review-sponsored events in the Boston area Reading List: I have been responsible for occasional jocose invention rather than strict archaeological findings.
What are served especially well by oral presentation are the highly lyrical passages bursting sporadically from The Tablets.