By Maurice Blanchot
Reflections at the enigma and mystery of “literature.”
A Voice from in other places represents one in every of Maurice Blanchot’s most crucial reflections at the enigma and mystery of “literature.” The essays right here undergo down at the necessity and impossibility of witnessing what literature transmits, and—like Beckett and Kafka—on what one may name the “default” of language, the tenuous border that binds writing and silence to one another. as well as issues of René Char, Paul Celan, and Michel Foucault, Blanchot deals a sustained come upon with the poems of Louis-René des Forêts and, all through, a different and demanding focus on music—on the lyre and the lyric, meter and measure—which poetry particularly brings sooner than us.
“This welcome new quantity, fantastically translated, is a necessary addition to our library of Blanchot in English.” — Lydia Davis
“Maurice Blanchot committed himself to what Henry James known as ‘the strangeness within the strangeness.’ A Voice from in different places speaks of what's irreducibly unusual in poetry and philosophy in a language of calm simplicity. those ordinarily past due items by way of a author and philosopher of the 1st rank are as piercing as they're deeply moving.” — Kevin Hart
“And if the voice from somewhere else used to be the poet’s voice? it's this speculation Blanchot exams ‘with obstinate rigor’ during this booklet. this kind of language is basically prophetic, yet in simple terms within the experience that ‘[i]t shows the longer term, since it doesn't but communicate: … discovering its that means and legitimacy basically sooner than itself.’ this can be luminous Blanchot, rendered luminously by means of Charlotte Mandell, his most sensible, such a lot elegantly literate translator.” — Pierre Joris
“Here is a quantity of Maurice Blanchot’s commentaries on poems by means of Louis-René des Forêts, René Char, and Paul Celan, with his celebrated account of Michel Foucault’s œuvre. In every one case Blanchot unearths himself obsessed via ‘a voice from elsewhere’—a voice that's instantaneously intimate, wordless, and uninhabited: los angeles voix de personne, no-one’s voice. those commentaries, fantastically translated via Charlotte Mandell, are themselves constituted through this voice, a natural reverberation that readers of Blanchot’s writings do not need forgotten. they're going to say: so the following he's, if he ever was.” ― Gerald L. Bruns
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Additional info for A Voice From Elsewhere (Suny Series, Insinuations Philosophy, Psychoanalysis, Literature)
Yet, the lyrical I appeals to his comrades not in the expected way of appealing to the shared values that underpin such discourses, but by violating their implied conventions and narratives on the basis of his recent experience. A passage from Vesely’s short text ‘Maltreated Intimacy’ suggests a possible explanation: [The political prisoner] is on his own. His comrades avoid any encounter because they know that he passed on information that made it possible for the secret police to uncover the underground work of a cadre cell.
Así, la temporalidad se constituye en la misma posibilidad de volver a entrar en lo simbólico. Entonces, también, si la poesía dice ‘otra cosa’ que el discurso histórico, eso no la consigna al mito como ha sostenido Octavio Paz. Al contrario, la destina al terreno de lo político. Y si preguntamos por la relación entre redención y resistencia, la respuesta tendría que ser que existe una diferencia radical entre ellas: la resistencia se contrapone a una realidad determinada, hace la crítica a las representaciones en las que se sostiene esa realidad y contrapone otras representaciones más exactas; la redención, al contrario, rompe la representación como tal, pone entre paréntesis el mundo histórico, es decir, suspende el discurso histórico y el marco fenoménico que lo acompaña, y mantiene fidelidad a la ruptura mesiánica.
Una vez más, hay que distinguir la resistencia de la ruptura más radical. La ruptura que implica el trauma, es decir, la ruptura con las representaciones que constituyen la realidad, puede condenar el sujeto a la repetición de la escena traumática. 4 (1998), 134–43. De los sujetos de la resistencia y los sujetos que se resisten a resistir 25 con la narrativa imperante, de llegar al punto cero de la historia. Si el punto de anclaje de lo simbólico en lo real se deshace y se rehace en el pasaje de la luz a la significación, entonces no se puede afirmar que la resistencia, que – como hemos señalado – depende de las representaciones existentes, pasa por allí.