TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

eak occurs in the poet's mind as they posit themselves and their narrator as imaginary
beings and before either or both of these entities are textually mimicked.
Cameron's focus on the predication of impersonality suggests that what we have,
in fact, is the phenomena for some entity to posit itself as being a self-directed agent. The
compound predication incorporate to impersonality, and its undecidability, would seem to
suggest that, when all else remains, subjectivity occurs through the act of constituting
choice itself. Impersonality, as I construe it in this context, means something different in
kind to personality and personal. That is, in speaking of being impersonal we might mean
that we are not ontically determined. We learn to cite our selves within our own
remonstrance with natural history.
Memory and the art of predication that it makes possible has been re-examined
such by modernist aesthetic practices that we can now see that what has constituted
certain Truth was a condition of how we process and cite the melange of personal and
public coordinates of incidence that figure within the past. Impersonality requires
understanding that styles of re-membering always involve new understandings created in
the encounter and placement of facts that lie before us on that path. Impersonality, as the
stylized structuration of memory itself, replaces received ideas about organic modes of
memory tethered to and organized by the variabilities of circumstance, for an abstract
arrangement that is subordinate to the consequential rules of linear predication.
Impersonality demonstrates that voluntary and involuntary memory eventually moves
beyond the tasks of recollection and reminiscence for the end of permitting new, willed,
re-organizations of the subject that follows forms of knowledge not located in the self's
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