Cy Twombly, ‘Treatise on the Veil (First Version),’ 1968.
For Leslie Scalapino, the poem’s an apparatus, no mere mimetic catch to reproduce world(s) as a backdrop for the poem’s disclosures. That it can be used to observe the manifestations and codeterminations of entangling and unfurling world(s) is also mere axiom; more crucially, the poem tears back the veil of the “real” (in this case, where flesh meets florescence: body/world) to point to the rachitic frame-structure bolstering becoming.
in the hug of a wave horizon rolled youngly from nothing. —Susan Howe, “Chanting at the Crystal Sea” [1]
Horizon
Pt. 3
For Leslie Scalapino, the poem’s an apparatus, no mere mimetic catch to reproduce world(s) as a backdrop for the poem’s disclosures. That it can be used to observe the manifestations and codeterminations of entangling and unfurling world(s) is also mere axiom; more crucially, the poem tears back the veil of the “real” (in this case, where flesh meets florescence: body/world) to point to the rachitic frame-structure bolstering becoming.
in the hug of a wave horizon rolled youngly from nothing.
— Susan Howe, “Chanting at the Crystal Sea” [1]