Some waves originate deep in space; others arrive with the wind, cresting the ocean's surface. At low tide, a traveler might walk a long stretch of shore, shifting boundary between land and sea. She might lift spiraled shell to ear, listen for a sound that began in a neighboring galaxy, named after an explorer intent on sailing the globe. She might hear history. “It might sound like this: in the salt chuckle of rocks / with their sea pools, there was the sound /like a rumour without any echo / of History, really beginning.” Such does Derek Walcott locate history's source in a tidepool made of words. Writing in Poetic Intention, Édouard Glissant uses the same materials of construction: “I build my language out of rocks, I write, indeed, with the feeling of some scribe. . . .” In the tides between history and language: poetry, an island that breaks away from the main.
Some waves originate deep in space; others arrive with the wind, cresting the ocean's surface. At low tide, a traveler might walk a long stretch of shore, shifting boundary between land and sea. She might lift spiraled shell to ear, listen for a sound that began in a neighboring galaxy, named after an explorer intent on sailing the globe.
One is the first positive odd number, an integer not evenly divisible by two. Odd, from the Old Norse oddi, point of land, triangle, the odd point sticking out, not lining up. As Dr. Math explains, the words we use are pictures of the shapes a number makes.
In post 13, when I spoke of Blanchot and translation as a step outside time, I briefly mentioned UK critic and Galician literary scholar Kirsty Hooper. Her landmark book Writing Galicia into the Worldis also a step outside time, one important to translation in a critical sense and in a wider optic. Its mission is other, but it opens up the stakes of translation itself, in a way that is co-incident with, and that has learned from, ideas of writers such as Édouard Glissant and Gilles Deleuze. Her work allows us to look anew at what it means to cross the borders of language, and better understand literature’s role in this crossing.
To tweak from the press website, the book’s “key theoretical contribution is to model a relational approach to a nation’s cultural history, which allows us to reframe a culture often dismissed as peripheral or minor as an active participant in a network of relation that connects local, national and global.”
The exciting thing is that it opens many possibilities to future investigators, and not just to those who study Galician culture (though, please, folks, do study Galician culture!). Hooper’s work is also co-incident and co-intuitive with ideas such as Anne-Marie Losonczy’s “cosavoir,” or “co-knowledge,” a current influence on the production of Quebec poet Chantal Neveu and others.