Hiromi Itō

Hiromi Itō and Jeffrey Angles

'Birthing the World,' from the Kojiki

A portion of 'Izanami and Izanagi Creating the Japanese Islands' by Kobayashi Eitaku, mid-1880s, ink and color on silk, 49 5/8 x 21 1/2" (126 x 54.6 cm), <a href="https://collections.mfa.org/objects/26669/izanami-and-izanagi-creating-the-japanese-islands?ctx=48b20bf4-d8db-4a9c-89dc-cc32fde89bb9&idx=8">Museum of Fine Arts</a>, Boston. — A portion of 'Izanami and Izanagi Creating the Japanese Islands' by Kobayashi Eitaku, mid-1880s, ink and color on silk, 49 5/8 x 21 1/2" (126 x 54.6 cm), Museum of Fine Arts, Boston.

[The Kojiki (Record of Ancient Matters) is the oldest chronicle ever produced in Japan, compiled in the years 711–12 CE by the court noble Ō no Yasumaro at the request of the Empress Genmei, who reigned 707 to 715 CE. It begins with the creation of the world, describing the actions of the gods and goddesses as they create the earth and society, then it connects these myths to the earliest history of the Japanese nation. Among the most important of these stories is the tale of Izanami and Izanagi, the first gods to descend to earth.

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Twenty Theses for (Any Future) Process Poetics

Postscript // Bibliography // Acknowledgments

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T.1 The poem is ontologically dissevering: necessarily fragmenting and framentary.

T.2 Holding concretized, ready-made “significance” and in abeyance, the poem functions as a catch, an apparatus used to observe the manifestations and codeterminations of entangling and unfurling world(s).

T.3 So as to render inoperative those ossified subject-configurations most exploitable by market vampirism, the poem tears back the veil of the “real” (where flesh meets fluorescence: body/world) to point to the rachitic frame-structure bolstering becoming.

In order to celebrate the conclusion of “Prolegomena to (Any Future) Process Poetics,” I’d like to provide a postscript that distills the central concerns of these twelve dense riffs into a series of pointed propositions. The following twenty theses comprise the core of this thinking and will act (I hope) as a lens for future rereading. Thank you, dear readers, for engaging with/in this work.