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Download Holy Heathen Rhapdsody by Pattiann Rogers PDF

By Pattiann Rogers

“Pattiann Rogers is a visionary of fact, perceiving the fabric international with such depth of reaction that impulse, purpose, which means, interconnections past the surface of visual appeal are printed. Her language, unmarred through clichés, springs up out of a feeling of the way a variety of and eternally remarkable are the different types of existence and the human skill to note them.” — Denise Levertov

Pattiann Rogers has gained acclaim as probably the most unique voices in modern American poetry. The poems in her new assortment, Holy Heathen Rhapsody, include and include the forces of the Earth and the inventive strength of its lifeforms in all of the wildness in their forms. Love in those poems is a strength infused with an analogous inventive strength and depth, the purest manifestation of the will-to-be. This imaginative and prescient and its making contend that even a shadow or a floating seed, a frond of eco-friendly or a dead night spider, even a mongrel puppy, wind over water, the human voice, the human witness, peace and guns, all?"every element and have encountered?"are absolutely endowed gamers within the dynamic tune of the Earth.

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For the jumbled lines and titled planes of the folding irruption, which deflect its surfaces onto its angular remnants, do not translate a free-flowing or transparent space. They do not possess even what Colin Rowe called "phenomenal transparency": they do not fit in a "pictorial" space where light is cast on a complex of clear and distinct forms for an independent eye standing outside their frame. Yet if Rebstock has a different feel from a free-flowing modern transparency, it is not achieved by enclosing the units and attaching to them a kitsch set of contextualizing or historicizing symbols.

Deleuze thus speaks not only of implication, explication, and replication but also of what, in Différence et répétition, he calls "perplication"a folding through or folding across. 7 "Perplications" are "cross-foldings" that introduce a creative distantiation into the midst of things. Such distance is the holding apartwhat Deleuze calls the "disparation"of a space that opens in it the chance of a "complex" repetition (not restricted to the imitation of a given model, origin, or end) or a ''free" difference or divergence (not subordinated to fixed analogies or categorical identities).

In this way the grid becomes only a dimension of the folding of the space in which it figures. Eisenman uses the term frame to discuss the grid, as that term has been elaborated by Jacques Derrida, notably in his work on "the truth in painting": much as Derrida says that the dream of a completely unframed space is vain (and that "deconstruction" is not that dream), so one might say that there is no such thing as a gridless architecture. Yet there exists a "complexity," or a potential for folding, that is not contained within any frame or grid; on the contrary, a frame or grid only exists within a larger virtual complexity that exceeds it.

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