A sure way to effectively limit the productive dynamism of potential is to cordon energy off into supposedly discrete, closed systems. Unfortunately, most readers (and some writers) view the poem as such a system. The reification of product ropes up and quantifies potential in the money shot of presence, ultimately limiting the surplus energy on tap: in other words, what you see is what there is. This is true of all finite, discontinuous objectivities, including the anthropomorphic-machine and its production of both pleasures and shame, including the production of ossified subject configurations of all types, the nature of which can only truly be defined after the subject has concretized into its own marketable ingress (that is, once the subject is stilled as superject).
A system is defined by its operational closure. A structure is defined by its functional parameters. A process is in touch with a great outside. It is defined by its openness to that great outside: by how it dips into and captures the tendential potentials stirring there. — Brian Massumi, The Principle of Unrest: Activist Philosophy in the Expanded Field
The Argentinian artist Mirtha Dermisache (1940-2012) wrote her first book in 1967, 500 pages in length and not a single word. “I started writing,” she said in a 2011 interview, “and the result was something unreadable.” This sounds to me overly modest. Her skill is for distracting the onlooker’s impulse to read.
“There is a certain curiosity in it that exceeds melancholy.” I took this quote out of a notebook of mine, my “Praha” Moleskine that has never seen Prague, for I translate a “Praha” out of wherever I am, going to Prague by simply writing always in the pages of Praha, even when I am elsewhere, knitting these elsewheres together into Prague or Praha. At times I even take out the map of the city and use it to find where I am, though I am nowhere near Prague.
What does Prague and a notebook I bought on The Danforth in Toronto (a reject)—and have no right to use—have to do with translation, you ask? Perhaps all translation has to do with curiosity and melancholy, I respond.
I open the notebook two pages further on and find a quote from Giorgio Agamben scribbled there, from page 340 of his Puissance de la pensée: “La facticité est la condition de ce qui demeure caché dans son ouverture, de ce qui est exposé par son retrait même.”
There is a sense in which every reading of a text by an individual is a translation, because ink and paper, or pixellated light and darkness, are “read” through a body, an individual apparatus impossible to replicate in terms of its cells and experiences and the ways that experience has affected its neural maps and capacities. This body may not even know its own filters and how they act when it “reads”. Because of this, we can study literature, which is the act of sharing readings and benefitting from other filters: in reading groups, in university classrooms and cafeterias and libraries, and on-line with brilliant teachers, in cafés, in living rooms, on ferries, at bus stops.
One question I am sometimes asked is: given this, is it possible to translate without having a second language? It’s a sly question, for people know very well that Elisa Sampedrín, my nemesis-polynym who has no interior, has done this.