Abstract
In the poetry of Thomas Kinsella, Kathleen Jamie, and Mimi Khalvati, we have seen poetic space created out of the play of notions of alterity in language and being. Often, also, mediation has been the key to understanding and poetic resolution. In all cases, effective communication of experience lies in the state of dwelling of the I/eye of each poem: it is “both mine and not mine,”1 a part of and also apart from the world, in a space within the open bounds of the mediatory experience. As Kinsella, Jamie, and Khalvati all see the act of poetic creation as a never-ending state of process, for Alice Oswald, the act of poetic creation, and the status of the finished product, is a “working account.”2 It is this sense of self-conscious, affective, and continual experience, which creates and defines its own passage in relation to itself, and finds coherence in the scattered nature of its milieu, that we can see articulated powerfully in Alice Oswald’s river-poem Dart.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Helen Vendler, Soul Says: On Recent Poetry (Cambridge, MA: Harvard University Press, 1995): 8.
Theodor Schwenk, Sensitive Chaos: The Creation of Flowing Forms in Water and Air, trans. Olive Whicher and Johanna Wrigley (Sussex: Steiner Press, 1996): 19.
Charles Bennett, “Current Literature 2002: New Writing: Poetry,” English Studies 85.3 (2002): 231.
Serres, The Five Senses: A Philosophy of Mingled Bodies. Trans. Margaret Sankey and Peter Cowley (London: Continuum, 2008): 258.
Dianne Meredith, “Hazards in the Bog: Real and Imaginary,” Geographical Review 92.3 (2002): 319.
Giorgio Agamben, The Coming Community, trans. Michael Hardt (Minneapolis: University Minnesota Press, 1993): 80.
See, in particular, Derrida, Of Grammatology, where the manner in which the signifier and its double expresses itself through the writing (and concomitant reading) act as “always already”: writing “already presupposes an identity, therefore an ideality, of its form”, also representing “the passage of the one [the signifier] to the other [the trace]”. Jacques Derrida, Of Grammatology, trans. Gayatri Chakravorty Spivak, (Baltimore: The Johns Hopkins UP, 1976): 9–10.
Michel Serres, Catherine Brown, William Paulson, “Science and the Humanities: The Case of Turner,” SubStance 26.2, 83 (1997):15.
Brian Massumi, “Realer than Real: The Simulacrum According to Deleuze and Guattari” (1987) last/works/realer.htm
Alice Oswald, Woods etc (London: Faber, 2005): 41.
Michel Serres, Hermes: Literature, Science, Philosophy. Trans. Josué V. Harari and David Bell (Baltimore: The Johns Hopkins University Press, 1982): 70.
Michel Serres, The Birth of Physics, trans. Jack Hawkes (Manchester: Clinamen Press, 2000): 108.
Giorgio Agamben, Infancy and History: On the Destruction of Experience, trans. Liz Heron (London: Verso, 2007): 46.
Kenneth White, The Wanderer and His Charts: Essays on Cultural Renewal (London: Polygon, 2004): 6.
See Kenneth White, Dialogue avec Deleuze: Politique, Philosophie, Géopoétique (Paris: Isolato, 2007): 20–27. My trans.
Gilles Deleuze, Proust and Signs, trans. Richard Howard (London: Continuum, 2008): 62.
Michel Serres, Atlas (Paris: Flammarion, 1992): 12.
Copyright information
© 2015 Heather H. Yeung
About this chapter
Cite this chapter
Yeung, H.H. (2015). Of Passage and Process: Alice Oswald’s Dart. In: Spatial Engagement with Poetry. Geocriticism and Spatial Literary Studies. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137478276_11
Download citation
DOI: https://doi.org/10.1057/9781137478276_11
Publisher Name: Palgrave Macmillan, New York
Print ISBN: 978-1-349-50404-6
Online ISBN: 978-1-137-47827-6
eBook Packages: Palgrave Literature CollectionLiterature, Cultural and Media Studies (R0)