Theatrum Chemicum Britannicum
17 hours ago
singular complayntes set in lethal contradiction, the dialectics of plaice, geographic gyna-fascism, failed love poems, gamelan metaphysics, the whole human geography of song.
Robertson seems to be saying that any lapse of our attention to what we love hurries love off to capital; she is noticing that it is perfectly human to want to soak up the light, but that whatever it falls on, it is always falling on cash, so that one cannot perceive without ingesting it […] [see 'Reading on the Left,' Representations 108.2, Fall 2009]I like Nealon's reading, but I'm unsure as to whether the discrepancy that he reads into the poem, that between what is perfectly human, and what is the unfortunately inescapable result of its attention, is really there in the lines themselves. What if what is "perfectly human" in this poem is rather less capable of wanting something as natural and pleasurable as soaking up the light; what if the "you" is as much a part of the fabric of determination, command and imperative as the "silent money" into which is inserted "love"? After all, the lines exhibit a grammatical ambiguity that seems to actively eschew a clear-cut discrepancy between the good human and the bad money, as do the later lines "this afternoon the beautiful / light on the cash is human to guzzle / with." Does everything, you forget, insert love into the silent money; or does everything you forget insert that love; or does the line break act as an icon of forgetting itself, so that what inserts love into the silent money remains as arbitrary and inexact as a "self" that says so not because it needs to, or wants to, or desires to, but merely "because it can." What agency, if any, do "you" have with regard to the love that gets inserted into the "silent money"?