artstrike 1 9 9 0 - PhotoStatic Magazine - Detritus
artstrike 1 9 9 0 - PhotoStatic Magazine - Detritus
artstrike 1 9 9 0 - PhotoStatic Magazine - Detritus
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N O T R E P R O D U C T I O N Retrofuturism Nº10<br />
“never”. Add “bafflement” and the poem will spell “neverending<br />
bafflement”, a neat characterization of the subject,<br />
the person with the secret life who is addressed. “nERVE”<br />
is available, too, for whatever that’s worth. “VERVE”, too.<br />
Thus does the disconcealment jiggle ordinary words beyond<br />
their first meanings.<br />
Although it is not emphatically metaphoric, “Your Secret<br />
Life” has touches of the figurative. One is the way most<br />
of the letters of “bafflement” shrink down to secret-size<br />
and hide in the E, thus metaphoring a kind of subterranean<br />
life. At the same time the word enacts a visual metaphor<br />
for bafflement, its spelling causing that state, at least initially,<br />
for most readers.<br />
The second of the three samples of Sequencing I want to<br />
discuss is called “Philosophy”. Its main form of<br />
disconcealment is Crosswording, which consists of the sharing<br />
of one or more letters between two or more words (or<br />
phrases)—as, in fact, in the poem just examined. It allows<br />
“Philosophy” to say, “ThOughTS in KnOTS”— which, presumably,<br />
is what philosophy consists of.<br />
The piece also makes use of the most common kind of<br />
disconcealment, the Disruption. The Disruption is merely<br />
the breaking up of a word or phrase in such a way as to<br />
reveal inner words or partial words that increase its potential<br />
for meaningfulness. The insertion of spaces into words<br />
would be another way to describe this device. It occurs in<br />
almost all of the poems in Sequencing, including “Your<br />
Secret Life”. In “Philosophy” the Disruption produces such<br />
extra meanings as the “ugh” that philosophical exertion in<br />
part is, and “Thin” and “think’n”, which are minor but add<br />
appropriate atmospheric effects to the poem. The arrangement<br />
of letters is to a degree a visual onomatopœia for knots,<br />
too—that is, it looks like what it denotes.<br />
Perhaps my favorite of the poems in Ernst’s collection is<br />
the one called “Proserpina”. This poem depends chiefly on<br />
disconcealment by crosswording: the words “have” and<br />
“come” are linked by a shared “E”; and an “I” crosswords<br />
the result into “I come” and “I have”. Two Es lower on the<br />
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