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Journal of Research & Scholarly Output 2006 - Grimsby Institute of ...

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production in which we might catch “whiffs”<br />

<strong>of</strong> the “faint wandering notes <strong>of</strong> a hidden<br />

music” (31). Keep that thing away from this<br />

thing so that ‘the thing’ may retain its<br />

centrality in the scheme <strong>of</strong> power<br />

mechanics.<br />

reflexive response to structures <strong>of</strong> power. 2<br />

Without the threat <strong>of</strong> dismantling, aesthetic<br />

wholeness has no meaning; “the flame <strong>of</strong> art<br />

burns most intensely” where it is most in<br />

danger <strong>of</strong> being extinguished (15). Without<br />

the violent threat <strong>of</strong> unravelling, the figure in<br />

the carpet will not hold. Without the<br />

Within this scenario, critical reception<br />

becomes a power game <strong>of</strong> ‘fascination’; the<br />

imposition <strong>of</strong> critical power, the figure simply<br />

cannot configure<br />

indefinable thing has us in thrall, wasted and<br />

wandering in a romantic quest for ‘unveil the<br />

indefinable’: “literature [is] a game <strong>of</strong> skill”<br />

(36). ‘The treasure’ is an object <strong>of</strong> exchange<br />

between subjects, ‘[t]he [m]iddle’ in which<br />

one and other converge in a passionate<br />

encounter, “fire[d] as [we’ve] never been<br />

fired” before (18).<br />

Was the figure in the carpet traceable or<br />

describable only for husbands or wives - for<br />

lovers supremely united? (52)<br />

The linking <strong>of</strong> united lovers with the heart <strong>of</strong><br />

the textual mystery invites a reading <strong>of</strong> a<br />

position <strong>of</strong> interpretative jouissance, an<br />

artistic sublime achieved through that which<br />

transcends its circumscribed place in the<br />

scriptible. We, as critics, may be fascinated<br />

by the totem <strong>of</strong> power wielded by the textual<br />

fasces, spellbound by what Vereker refers to<br />

in his work as the “organ <strong>of</strong> life” (19). In<br />

coercive structure then, which imprisons the<br />

reader (existing within the text and outside<br />

its boundaries), lies “intoxication” (42) and a<br />

“pleasure so rare” (5) as subject and object<br />

clash in a sexual/textual encounter which<br />

gives a form <strong>of</strong> “rapture” (3). That there is a<br />

clash between one and other in the act <strong>of</strong><br />

interpretation may be co-existent with<br />

liminal challenge as a jubilation in the extratextual<br />

position thus rendered - that is, in a<br />

Page 54<br />

FOCUS

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