The Poetry of Georges Bataille, George Bataille, translated by Stuart Kendall (2018)

Just got my copy in the mail yesterday.

Presents a new window into the literary, philosophical, and theological concerns of this enigmatic thinker and writer.

Despite its relative rarity, and the condensed brevity of the poems themselves, poetry occupies a striking place in the literary and philosophical oeuvre of Georges Bataille. For Bataille, poetry had no meaning “except in the violence of revolt,” which it could attain “only by evoking the impossible.” Toward this end, he wrote poetry, as he says in Inner Experience, “with necessity—in accordance with my life.” Although poems appear in four of his major works, and others were published independently in a small collection and in magazines, much of Bataille’s poetry remained unpublished at the time of his death. This volume presents a nearly complete edition of the poems in chronological order. Stuart Kendall provides an extensive introduction and notes highlighting the literary, philosophical, and theological significance of Bataille’s poetry. He also explores the influence of Nietzsche, St. John of the Cross, Blake, Baudelaire, and other poètes maudits and situates the poems in relation to Bataille’s other writings and the period in which he wrote.

Georges Bataille (1897–1962), a medievalist librarian by training, founded the College of Sociology and the secret society Acéphale. He was equally famous for his contributions to French literature, art criticism, anthropology, philosophy, and theology. Bane of theologians, existentialists, and surrealists during his lifetime, he became an essential reference for the poststructuralist generation of French intellectuals, including Roland Barthes, Jean Baudrillard, Michel Foucault, and Jacques Derrida.

Here.

The Birth of Nomos, Thanos Zartaloudis (2018)

This book looks absolutely essential. My only resource on this important term for the last decade has been Emmanuel Laroche, Histoire de la racine nem- en grec ancien (nemō, nemesis, nomos, nomizō) (1949).

 

Delves into the history of the ancient Greek word nomos (and related words) to reveal the interdisciplinary depth of this term beyond its later meaning of ‘law’ or ‘law-making’

This is a highly original, interdisciplinary study of the archaic Greek word nomos and its family of words. Thanos Zartaloudis draws out the richness of this fundamental term by exploring its many uses over the centuries.

The Birth of Nomos includes extracts from a wide range of ancient sources, in both the original and English translation, including material from legal history, philosophy, philology, linguistics, ancient history, poetry, archaeology, ancient musicology and anthropology. Through a thorough analysis of these extracts, we gain a new understanding of nomos and its foundational place in the Western legal tradition.

Key Features

  • Assembles a genealogical history of the ancient Greek work nomos, showing how it contains a richness that is not reflected in its classical and modern usage as simply ‘law’ or ‘law-making’

  • Draws on works by ancient Greek philosophers, poets and tragedians including Homer, Hesiod, Alcman, Pindar, Archilochos, Theognis, Heraclitus, Aeschylus, Sophocles, Euripides and Plato

  • Includes extracts from ancient primary sources, in both the original and in English translation, to analyse how nomos has been used in the literary evidence and in context

  • Considers how nomos has been used by contemporary philosophers, including Agamben, Foucault, Heidegger, Schmitt, Deleuze and Axelos, and re-examines their interpretations

https://edinburghuniversitypress.com/book-the-birth-of-nomos-hb.html

Thanos Zartaloudis, The Birth of Nomos – Edinburgh University Press, November 2018

The Return to Lucretius III

Image result for botticelli

We are witnessing a return to Lucretius. What felt like early shoots in 2014 are today now starting to bear fruit in numerous recent books breaking with the received tradition. My work on Lucretius is now part of a handful of new works offering contemporary interpretations of Lucretius. The authors of this return offer different perspectives but also share a common belief that something is deeply missing from our current reception of Lucretius and that certain problems in contemporary life might find their surprising solution in the work of this ancient poet. Just like the moderns and the romantics before us, we are just now beginning to rediscover a Lucretius for our time. 

The New Lucretius

The new Lucretius has an old lineage. This lineage traces its roots back to the German philosopher, Karl Marx’s 1841 dissertation “The Difference Between the Democritean and Epicurean Philosophy of Nature.” There Marx gave one of the most radical and heterodox interpretations of Epicurus and Lucretius the world never saw. The complete work was not even available in German until 1927 and in English until 1975 in his expensive collected works. It is no wonder that it remains one of the most neglected of all Marx’s books. However, in his dissertation, Marx was the first to argue not only that Epicurus had a distinct philosophy different form Democritus but that the core concepts of atomism (atom, void, fall, swerve, repulsion) were actually all continuous dimensions of the same flow of matter. 

This idea was largely left for dead until it was picked up by the French philosopher Gilles Deleuze in 1962 in his book Nietzsche and Philosophy. There, Deleuze credits Marx’s brilliant discovery but argues instead that the swerve is caused by a vital “force” immanent to matter. Later Deleuze develops this reading into a new “immanent” interpretation of Epicurus and Lucretius in an appendix to his 1969, Logic of Sense. 

From here this idea was explicitly adopted by the French philosopher, Michel Serres who developed it into the first truly path-breaking book-length treatment of a new turbulent Lucretius consistent with the early chaos theory of the day, The Birth of Physics in the Text of Lucretius (1977). Unfortunately, Serres book was not translated into English until 2000, after which it went out of print.

The Immanent Interpretation of Lucretius 

This is a brief history of only the most sustained book-length attempts at the “immanent” reading of Lucretius being reactivated today. Beginning in 2016 an unusual burst of new books either tracing their lineage back to this tradition and/or deconstructing the orthodox reception of Lucretius came out. In 2016 a wonderful collection of essays offering contemporary reassessments and reinterpretations of Lucretius drawing on the “immanent” tradition was edited by Jaques Lezra and Liza Blake and published as Lucretius and Modernity. In the next year Ryan Johnson published, The Deleuze-Lucretius Encounter and in the fall of 2017 Pierre Vesperini published a devastating critique of the “myth of Lucretius” in his Lucrèce: Archéologie d’un classique européen. Among other things, Vesperini argues convincingly against every single major point made by Stephen Greenblat in his narrative history of the discovery of De Rerum Natura, The Swerve (2011). Vesperini argues that Lucretius was not a faithful Epicurean; that Lucretius was not an unknown radical of his day; and that Lucretius did not provide a “complete kit for modernity,” but was historically appropriated by mechanistic modernists and then retroactively lionized by the Romantics. This lionization is explored in Sweet Science: Romantic Materialism and the New Logics of Life (2017) by Amanda Jo Goldstein. Goldstein’s conclusion is right on target in citing Marx as the start of this tradition.

The coup de grâce of this burst came in January of 2018 when Michel Serres, The Birth of Physics was retranslated and republished with a blurb on the back explicitly acknowledging the timely importance of reintroducing this book for its contributions to twenty-first-century new materialism. Two months later saw the publication of my first book Lucretius I: An Ontology of Motion and Jacques Lezra’s book On the Nature of Marx’s Things. Even in just the past eight years, we have seen a notable return of Lucretius to contemporary philosophy, in particular by new materialist philosophers.  

 

 

Poetry in Motion: On A.R. Ammons’ “Corsons Inlet”

Image result for Corsons Inlet

 

The stanza formation ripples, rises, and falls like waves. The poem both speaks about and performs the movement of the sea, dunes, reeds, birds, and fish at the same time. Form yields to the material process of undulation and continuous deformation. Life and death become the Janus faces of entropy.

In nature there are no straight lines. It is a simple idea but profound. The “pulsations of order” in the minnows, the dunes, the reeds, the inlet, all reveal the metastability of form. Form is a “kinomorphic” process of undulation and metastability. The poet discovers all this in media res, by walking, in motion (pedesis). This is not chaos, but a kind of entangled relational dance of which poetic form does not capture or “wall in” but tries to respond to. There is no prison house of language but a becoming of poetic matters. Poetic form becomes mobile, drifting like sand dunes.

The use of colons allows for a rhythmic continuity without period breaks. Waves rise and fall, minnows gather and disperse, and colons punctuate without stopping the flow. The subjective “I” does not disappear but in Ammon’s poem enters into the flow of poetic matters: “I think in eddies.” The “I” emerges in and through the eddies. Ammons does not think “about” eddies. The preposition “in” is not a representation. I think in the middle or in the midsts of, or through, eddies. I think in the folds of flows. The poetic matter is folded up flows: flows of thought, flows of sand, water, and flows of ink and electricity, pooled up into little colons that hover like the wind just above the period.

The period sinks to the bottom of the line like a rock dragging the whole thing back down to a stop. But the colon resists and floats just above. The colon is like a vertical ellipsis dragging the poem and the speaking body up out of the line into the eddies of air—throwing the lines into the next line like an air bridge.

The colon holds together and entangles only regionally independent clauses. The Greek kôlon, is a limb or tentacle, an extension, like a root, branch, or prosthesis that reaches out and entangles itself with others in a knotwork, meshwork, or mangle. In Ammons poem, the poem becomes a living and decaying tentacular rootball: khthṓn, from the ground or soil.

But the colon does not originate in grammar or even in Greek language. What are the immanent material conditions for the twisted tentacular colon? The earth already produces mineralogical veins, vegetable branches, and animal appendages. There are only colons because the earth is already tentacular and knotted. There are colons because there are  bayberry roots and crab legs. The colon appendage keeps things moving with wings, fins, fins, and roots. This is not determinism or even metaphor. The colon really is an appendage. Crabs do not necessarily produce or lead to poetic colons in any linear sense. Yet, they are the material and historical conditions for the colon. Is there a world in which there are colons and no earthly appendages? The colon is just one more mobile appendage on a different creature. The poem creature.


I went for a walk over the dunes again this morning
to the sea,
then turned right along
   the surf
                         rounded a naked headland
                         and returned
   along the inlet shore:
it was muggy sunny, the wind from the sea steady and high,
crisp in the running sand,
       some breakthroughs of sun
   but after a bit
continuous overcast:
the walk liberating, I was released from forms,
from the perpendiculars,
      straight lines, blocks, boxes, binds
of thought
into the hues, shadings, rises, flowing bends and blends
               of sight:
                         I allow myself eddies of meaning:
yield to a direction of significance
running
like a stream through the geography of my work:
   you can find
in my sayings
                         swerves of action
                         like the inlet’s cutting edge:
               there are dunes of motion,
organizations of grass, white sandy paths of remembrance
in the overall wandering of mirroring mind:
but Overall is beyond me: is the sum of these events
I cannot draw, the ledger I cannot keep, the accounting
beyond the account:
in nature there are few sharp lines: there are areas of
primrose
       more or less dispersed;
disorderly orders of bayberry; between the rows
of dunes,
irregular swamps of reeds,
though not reeds alone, but grass, bayberry, yarrow, all …
predominantly reeds:
I have reached no conclusions, have erected no boundaries,
shutting out and shutting in, separating inside
          from outside: I have
          drawn no lines:
          as
manifold events of sand
change the dune’s shape that will not be the same shape
tomorrow,
so I am willing to go along, to accept
the becoming
thought, to stake off no beginnings or ends, establish
         no walls:
by transitions the land falls from grassy dunes to creek
to undercreek: but there are no lines, though
       change in that transition is clear
       as any sharpness: but “sharpness” spread out,
allowed to occur over a wider range
than mental lines can keep:
the moon was full last night: today, low tide was low:
black shoals of mussels exposed to the risk
of air
and, earlier, of sun,
waved in and out with the waterline, waterline inexact,
caught always in the event of change:
       a young mottled gull stood free on the shoals
       and ate
to vomiting: another gull, squawking possession, cracked a crab,
picked out the entrails, swallowed the soft-shelled legs, a ruddy
turnstone running in to snatch leftover bits:
risk is full: every living thing in
siege: the demand is life, to keep life: the small
white blacklegged egret, how beautiful, quietly stalks and spears
               the shallows, darts to shore
                            to stab—what? I couldn’t
       see against the black mudflats—a frightened
       fiddler crab?
               the news to my left over the dunes and
reeds and bayberry clumps was
               fall: thousands of tree swallows
               gathering for flight:
               an order held
               in constant change: a congregation
rich with entropy: nevertheless, separable, noticeable
          as one event,
                      not chaos: preparations for
flight from winter,
cheet, cheet, cheet, cheet, wings rifling the green clumps,
beaks
at the bayberries
    a perception full of wind, flight, curve,
    sound:
    the possibility of rule as the sum of rulelessness:
the “field” of action
with moving, incalculable center:
in the smaller view, order tight with shape:
blue tiny flowers on a leafless weed: carapace of crab:
snail shell:
            pulsations of order
            in the bellies of minnows: orders swallowed,
broken down, transferred through membranes
to strengthen larger orders: but in the large view, no
lines or changeless shapes: the working in and out, together
            and against, of millions of events: this,
                         so that I make
                         no form of
                         formlessness:
orders as summaries, as outcomes of actions override
or in some way result, not predictably (seeing me gain
the top of a dune,
the swallows
could take flight—some other fields of bayberry
            could enter fall
            berryless) and there is serenity:
            no arranged terror: no forcing of image, plan,
or thought:
no propaganda, no humbling of reality to precept:
terror pervades but is not arranged, all possibilities
of escape open: no route shut, except in
   the sudden loss of all routes:
            I see narrow orders, limited tightness, but will
not run to that easy victory:
            still around the looser, wider forces work:
            I will try
       to fasten into order enlarging grasps of disorder, widening
scope, but enjoying the freedom that
Scope eludes my grasp, that there is no finality of vision,
that I have perceived nothing completely,
that tomorrow a new walk is a new walk.

 


 

(Thank you to Andrew James Brown @caute for sharing this poem with me)