The identity of being and non-being, part I of III
Let me pick up where I left off so that I can interweave my thoughts on the relation of the poor to epistemology, what Marie in Smedley’s Daughter of Earth calls “non-knowing,” and this latter to trash, salvage, refuse. Marie experiences
The identity of being and non-being, part I of III
Let me pick up where I left off so that I can interweave my thoughts on the relation of the poor to epistemology, what Marie in Smedley’s Daughter of Earth calls “non-knowing,” and this latter to trash, salvage, refuse. Marie experiences
Found voice
This whole time I have been seeking out a way in which to speak of abandonment as such so as not to recover it for history (i.e. historicism), which is to say, so as not to reify it as merely
Found voice
This whole time I have been seeking out a way in which to speak of abandonment as such so as not to recover it for history (i.e. historicism), which is to say, so as not to reify it as merely
The field itself which sees itself
Three years after Frost’s wanderer came across the wood-pile, we stand facing another object that has suddenly materialized out of the landscape. An ordinary detail transplanted onto the terrain of the aesthetic, here is a trace of unalienated labor that
The field itself which sees itself
Three years after Frost’s wanderer came across the wood-pile, we stand facing another object that has suddenly materialized out of the landscape. An ordinary detail transplanted onto the terrain of the aesthetic, here is a trace of unalienated labor that
Le travail pour le travail
An accidental encounter with abandonment – “And then there was a pile of wood” – would take place in a frozen swamp. The swamp has always corresponded to the irrationality of space, to irrational spaces, that is, poetic spaces. Indeed,
Le travail pour le travail
An accidental encounter with abandonment – “And then there was a pile of wood” – would take place in a frozen swamp. The swamp has always corresponded to the irrationality of space, to irrational spaces, that is, poetic spaces. Indeed,
What forces, what fates, part II
Now I’d like to return to an earlier thought, that of the standing-reserve. I originally wrote about the standing-reserve in the image of the idle train. This image appears as a “moment of rich silence” in Howells, the silence of
What forces, what fates, part II
Now I’d like to return to an earlier thought, that of the standing-reserve. I originally wrote about the standing-reserve in the image of the idle train. This image appears as a “moment of rich silence” in Howells, the silence of
These days wandered, postscript
In The Hidden Injuries of Class (1972), Sennett and Cobbs discuss the antagonistic relationship within the psychology of the working-class subject between love (or care) and work. That is to say, the working-class consciousness puts “into one compartment those exercises
These days wandered, postscript
In The Hidden Injuries of Class (1972), Sennett and Cobbs discuss the antagonistic relationship within the psychology of the working-class subject between love (or care) and work. That is to say, the working-class consciousness puts “into one compartment those exercises
These days wandered
Wandering is the embodiment of the absolute contingency of being. The practice of wandering therefore opposes itself to the search for meaning, which is also to say that it resists the making of sense. It is, then, only appropriate that
These days wandered
Wandering is the embodiment of the absolute contingency of being. The practice of wandering therefore opposes itself to the search for meaning, which is also to say that it resists the making of sense. It is, then, only appropriate that
The edge of the black world
At the edge of the black world their yields white beauty, “from off the brown and spent bodies which had so utterly yielded life and beauty to the full fruition of this long and silken tendril, this white beauty of
The edge of the black world
At the edge of the black world their yields white beauty, “from off the brown and spent bodies which had so utterly yielded life and beauty to the full fruition of this long and silken tendril, this white beauty of
The primitiveness of refuge, part II
The definition of the political arises, again and again, out of descriptions of labor and laboring societies. We, for instance, are a society that glorifies labor “as the source of all values[i] – even as we debase it – and
The primitiveness of refuge, part II
The definition of the political arises, again and again, out of descriptions of labor and laboring societies. We, for instance, are a society that glorifies labor “as the source of all values[i] – even as we debase it – and
What forces, what fates, part I
I have previously wanted to pry into unrepresentable space, which I have come to associate with abandoned space. I began with the dark bedroom, which led me to the wilderness, and now I want to think about three new spaces,
What forces, what fates, part I
I have previously wanted to pry into unrepresentable space, which I have come to associate with abandoned space. I began with the dark bedroom, which led me to the wilderness, and now I want to think about three new spaces,
The primitiveness of refuge, part I
Inhabited space is that in which one can be, a capacity for being that Gaston Bachelard grasps as the primitiveness of refuge, or the absolute destitution of such space. And it is felicitous space, besides, as in its destitution it
The primitiveness of refuge, part I
Inhabited space is that in which one can be, a capacity for being that Gaston Bachelard grasps as the primitiveness of refuge, or the absolute destitution of such space. And it is felicitous space, besides, as in its destitution it
All that trash goes somewhere
It is impossible to think about what has been discarded as such. Trash cannot be thought because to think it would be to take it up, to immediately reclaim it as salvage, as having (use) value. I have asked if
All that trash goes somewhere
It is impossible to think about what has been discarded as such. Trash cannot be thought because to think it would be to take it up, to immediately reclaim it as salvage, as having (use) value. I have asked if
Please give me denial
The captivation of poverty – and of the labor of poverty – is for me in its being a route through which to think about abandonment. I want to consider that what I see as a common affinity for poverty
Please give me denial
The captivation of poverty – and of the labor of poverty – is for me in its being a route through which to think about abandonment. I want to consider that what I see as a common affinity for poverty
Strayaway folk
I both sympathize with and yet cannot suffer the collector in whose dwelling “there is no spot on which [he] has not left his mark.”[i] This exacting accumulation of things, this empire building, represents his powerlessness over the inexorable sense
Strayaway folk
I both sympathize with and yet cannot suffer the collector in whose dwelling “there is no spot on which [he] has not left his mark.”[i] This exacting accumulation of things, this empire building, represents his powerlessness over the inexorable sense
I’d rather be a street, part II (occupation), postscript
I’d like to think that space is that of possibility, of radical imagination; there can be no other kind of space. Wandering is thus a mode of occupation, and occupation a mode of wandering, as to wander, to occupy, is
I’d rather be a street, part II (occupation), postscript
I’d like to think that space is that of possibility, of radical imagination; there can be no other kind of space. Wandering is thus a mode of occupation, and occupation a mode of wandering, as to wander, to occupy, is
I’d rather be a street, part II (occupation)
I am beginning to think that at times we need to feel ourselves to be souls in the rough[i] yet again, to suffer ourselves before our selves. The objectification, or commodification, of human beings defeats, or attempts to defeat, our
I’d rather be a street, part II (occupation)
I am beginning to think that at times we need to feel ourselves to be souls in the rough[i] yet again, to suffer ourselves before our selves. The objectification, or commodification, of human beings defeats, or attempts to defeat, our
I would touch the most delicate wounds
What is at stake in the very structure of the house, that is, in its integrity, is the possibility of narrative, both the kind that empowers, upon which action relies, and the kind that dispossesses insofar as it invests in
I would touch the most delicate wounds
What is at stake in the very structure of the house, that is, in its integrity, is the possibility of narrative, both the kind that empowers, upon which action relies, and the kind that dispossesses insofar as it invests in
Lean times for heroes
“‘I am Paul, Paul Paul, I am Paul.’”[i] This insistence on subjectivity, spoken in a moment of envisaging the shattering of a body against concrete, signifies the vanishing of heroism, the toppling of the landscape in which heroism is possible;
Lean times for heroes
“‘I am Paul, Paul Paul, I am Paul.’”[i] This insistence on subjectivity, spoken in a moment of envisaging the shattering of a body against concrete, signifies the vanishing of heroism, the toppling of the landscape in which heroism is possible;
The dark bedroom, postscript via Lefebvre
There is occasionally a gratifying moment in thinking through a text, a rapprochement between oneself and literary study, when one’s suspicions about that text resound within the impressions of another. I recently perused the first chapter of Henri Lefebvre’s The
The dark bedroom, postscript via Lefebvre
There is occasionally a gratifying moment in thinking through a text, a rapprochement between oneself and literary study, when one’s suspicions about that text resound within the impressions of another. I recently perused the first chapter of Henri Lefebvre’s The
The dark bedroom
I have found myself becoming absorbed by this dark bedroom, by which I can only mean that I have become preoccupied with occupying it, though I know that it is out of my reach. What Jacob Riis allegorizes as the
The dark bedroom
I have found myself becoming absorbed by this dark bedroom, by which I can only mean that I have become preoccupied with occupying it, though I know that it is out of my reach. What Jacob Riis allegorizes as the
clareeileen
