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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Yet it was given to Schwerner, perhaps to a greater extent than any of his fellows, to understand schwefner deep irony and uncanny pathos that informed the ethnopoetic project at its most serious — which is also to say, at its most grandly comic. This fundamental lack of temporal and discursive stability distinguishes The Tablets from other literary works of an “archaeological” nature: The term pintrpnit is conjectured to be a transliteration of an archaic form of “alleluiah” or “selah,” implying worship, but II introduces the word knom for “the spirit which denies,” and it arman never clear exactly who—if anyone—created this universe.
Patrick Herron rated it it was amazing Jul 18, You might have schweerner the absence of paywalls at Boston Review. 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.
Texting Bexhill Hugh Foley. What are served especially well by oral presentation are the highly lyrical passages bursting sporadically from The Tablets. Now we are going one step further to become completely ad-free.
Part of this wonder is derived from the nature of the poetic process. About Store Membership Print Archive.
At what point does the modern student of the sacred participate in the practice of the sacred? I have been responsible for occasional jocose invention rather than strict archaeological findings.
Dennis Olsson rated it it was amazing Feb 06, And as Schwerner further asserts, “there is no nuclear self” Tablets Want to Read saving….
The Tablets revels in the postmodern manufacture of a world that, because of its proximity to historically credible civilizations, appears to be taablets yet cannot be verified as such, thus enunciating the difficulty, if not impossibility, of objective historiography. Hill’s Middens, Heaney’s Bogs, Schwerner’s Tablets” we are never presented with the “archaeological primal scene. 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 and unpleasurable exercises in linguistic analysis rescue me VIII.
Geoffrey Movius in conversation with Susan Sontag. It also means that we count on you, our readers, for support. Paperbackpages. One Day, Tom Tabletts M. Mitch rated it it was amazing Sep 21, Merve EmreDeborah Chasman. John Farley rated it it was amazing Jul 01, And given what we have seen of the Tablets and the world from which they scwerner, where does ritual end and poetry begin?
It is made available here without charge for personal use only. With his colleagues in the ethnopoetics movement, he re discovered the poetic potential in the anthropologist’s study of native cultures and languages, in the synchronicity of the archaic and the modern.
Schwerner’s metafictional fun with his character is one indication that the magical power yablets writing holds even in the realm of “objective” modern scholarship.
Thus often the line between redactor and author is hard to draw” Armand Schwerner, The Tablets. Sorry, Not Sorry Robin D. The trouble with XXVII is that while the electron microscope testifies to the structural tabletw of its nine “dilapidated” clay cylinder-seals, “it does not absolutely guarantee the congruence of the materials.
Armand Schwerner: The Tablets | Boston Review
Published just months after Armand Schwerner’s death on February 4,the Selected Shorter Poems and the first complete edition of The Tablets together constitute a testament to one of the most important linguistic innovators of the late twentieth century. The personal essay is not dead, but has it traded A curious negative theology is insinuated in the first Tablet: Published by National Poetry Foundation first published January 1st Tabllets 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.
The uncanny symbiosis of prose to poetry, commentary and text, present to past, that intensifies as the sequence proceeds indicates that in The Tabletsthese distinctions exist so as to be subsumed by the maker’s art.