Notes

1 INTUITIONS IN: Methodologies

1. Jack Spicer, My Vocabulary Did This to Me, ed. Peter Gizzi and Kevin Killian (Middleton, CT: Wesleyan University Press, 2008), 374.

2. Walter Benjamin, Reflections, ed. Peter Demetz (New York: Schocken Books, 1986), 65.

3. Gertrude Stein, Everybody’s Autobiography (New York: Exact Change, 2004). Stein’s text, discussed in relation to a theory of “connective reading” by Juliana Spahr in Everybody’s Autonomy (Tuscaloosa: University of Alabama Press, 2001), is not unrelated to the sort of utopianism I am discussing, nor is her more recent prob-lematization of this model in light of multilingualism and globaliza-tion: “At this historical moment, cultures once kept geographically separated are meeting at unprecedented rates. This obviously points to a need for more complex models of connection that recognize not only points of contact, of mixing, but also relational difficul-ties, such as cultural and linguistic difference, so that individuals may both come together and develop as individuals” (Boundary 2, Fall 2004), 98. Interestingly enough, however, this complexifica-tion Spahr alludes to in “Connected Disconnection and Localized Globalism in Pacific Multilingual Literature” is not a complexity of a cybernetic nature, but one based on anarchism and the model of the archipelago, a spatiality with a seductive resemblance to Benjamin’s archipelogical Arcades Project.

4. J. Hillis Miller, “The Critic as Host,” in Modern Criticism and Theory, ed. David Lodge (New York: Longman, 1994), 280.

5. Gregory Ulmer, “The Object of Post-Criticism,” in The Anti-Aesthetic, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 114–15.

6. Spicer, 392.7. Jean Francois Lyotard, The Postmodern Condition: A Report

on Knowledge, trans. Geoff Bennington and Brian Massumi (Minneapolis: University of Minnesota Press, 1999), 61, 63.

8. Ihab Hassan, Paracriticisms: Seven Speculations of the Times (Chicago: University of Illinois, 1975).

9. Jacques Derrida, Of Grammatology, trans. Gayatri Spivak (Baltimore, MD: Johns Hopkins University Press, 1976).

190 NOTES

10. Rosalind Krauss, “Poststructuralism and the ‘Paraliterary,’” October 13 (1980): 36–40.

11. Krauss, 37.12. Roland Barthes, S/Z, trans. Richard Miller (New York: Hill &

Wang, 1974), 55.13. The Greek etymology of both hyperbola and hyperbole literally means

“to over throw,” or what we might think of as a throw beyond the norms of interpretation. Thus, every truly new interpretation or idea would be received (or rather, not received) as an overthrown pass, and every interpreter must aspire to the overthrow. Whether or not a throw is too far is the risk of interpretation itself.

14. Roland Barthes, The Rustle of Language, trans. Richard Howard (New York: Hill & Wang, 1986), 8.

15. Roland Barthes, Roland Barthes, trans. Richard Howard (Berkeley: University of California, 1977), 100.

16. Gilles Deleuze, The Fold: Leibniz and the Baroque, trans. Tom Conley (Minneapolis: University of Minnesota Press, 1992), 5.

17. Jean Genet, The Thief’s Journal (New York: Grove Press, 1964), 45, 82. Noting that his last name means “broomflower,” Genet writes, “Thus, through her whose name I bear, the vegetable kingdom is my familiar. I can regard all flowers without pity; they are members of my family. If, through them, I rejoin the nether realms—though it is to the bracken and their marshes, that I should like to descend . . . I would have rained over the world. My powder, my pollen, would have touched the stars.”

18. Charles Ryrie, ed., The Ryrie Study Bible (Chicago: Moody, 1983), 1335.

19. Jacques Derrida, Signsponge, trans. Richard Rand (New York: Columbia, 1984), 54.

20. Derrida, Signsponge, 114.21. Hannah Weiner, Silent Teachers/Remembered Sequel (Providence,

RI: Tender Buttons, 1993), cover blurb.22. Alan Clinton, Mechanical Occult: Automatism, Modernism, and the

Specter of Politics (New York: Peter Lang, 2004), 11–12. Clinton writes, “Even the ancient technology of writing had its own god, Thoth, who was the prototype of Hermes and the intimate relation-ship between all things technical and spiritual. The oldest surviving depiction of a print shop takes the form of a danse macabre; teleg-raphy leads to table rapping and other connections to the beyond; photography leads to spirit photos; telephones, radio, and sound recordings lead to spirit voices. Both Edison and Marconi, in fact, predicted from the outset that radio would be the ultimate means of contacting the dead, thus leading one to believe that the relation-ship between spirituality and technological means of communica-tion may be virtually immanent rather than causal.”

23. Louis Althusser, Lenin and Other Essays (London: New Left Books, 1971), 175.

NOTES 191

24. Gregory Ulmer, “The Miranda Warnings: An Experiment in Hyperrhetoric,” in Hyper/Text/Theory, ed. George Landow (Baltimore, MD: Johns Hopkins University Press, 1994), 360.

25. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1986), 161.

26. Leslie Scalapino, “On the Dihedrons Gazelle-Dihedrons Zoom,” www.postapollopress.com/dihedrons.html.

27. Michel Haar, “Attunement and Thinking,” in Heidegger: A Critical Reader, ed. Hubert Dreyfus and Harrison Hall (Oxford: Blackwell, 1992), 160.

28. Fredric Jameson, Postmodernism; or, The Cultural Logic of Late Capitalism (Durham, NC: Duke University Press, 1991), 54.

29. Alan Rauch, Useful Knowledge: The Victorians, Morality, and the March of the Intellect (Raleigh, NC: Duke University Press, 2001), 24.

30. Rauch, 6.31. Mike Featherstone and Couze Venn, “Problematizing Global

Knowledge and the New Encyclopaedia Project: An Introduction,” Theory, Culture, and Society 23 (2006): 1.

32. Paul Feyerabend, Against Method (London: New Left Books, 1975), 28.

33. Robert B. Ray, How a Film Theory Got Lost and Other Mysteries in Cultural Studies (Bloomington: Indiana University Press, 2001), 47.

34. Featherstone and Venn, 5.35. Featherstone and Venn, 5.36. David Harvey, The Condition of Postmodernity (London: Blackwell,

1991), 51.37. Bruce Robbins, “The Sweatshop Sublime,” PMLA 117, no. 1 (2002): 85.38. Robbins, 95.39. Robbins, 85.40. Cornelius Castoriadis, The Imaginary Institution of Society, trans.

Kathleen Blamey (Cambridge, MA: MIT Press, 1998), 149.41. Robert J. Mislevy “Probability-Based Inference in Cognitive

Diagnosis,” in Cognitively Diagnostic Assessment, ed. Paul D. Nichols, Susan F. Chipman, and Robert L. Brennan (Hillsdale, NJ: Erlbaum, 1995), 56.

42. Karen T. Taylor, Forensic Art and Illustration (Boca Raton, FL: CRC Press, 2001), 83.

43. Castoriadis, 353.

2 Space, Spectrality, and Parability

1. Walter Benjamin, Reflections, ed. Peter Demetz (New York: Schocken, 1986), 8–9.

2. One of the main differences between magic, understood by Benjamin in the Surrealist sense of the magic-circumstantial, and

192 NOTES

Intuitions In, would be on the level of mood. Specifically, Intuitions In would take on a mood more akin to the negative theology of Angelus Silesius as described by Jacques Derrida. Namely, it “dis-places and disorganizes all our onto-topological prejudices, in par-ticular [but not only] the objective science of space” (On the Name 56). Negative theology exceeds particular belief structures and the languages that maintain them, but does so by moving into the abyss without assurances, including the assurances of magic.

3. Dana Brand, “From the Flaneur to the Detective: Interpreting the City of Poe,” in Popular Fiction: Technology, Ideology, Production, Reading, ed. Tony Bennett (London: Routledge, 1990), 220–37.

4. Robert Ray, How a Film Theory Got Lost and Other Mysteries in Cultural Studies (Bloomington: Indiana University Press, 2001), 18.

5. Thomas Pynchon, The Crying of Lot 49 (New York: Harper Perennial, 1999), 13–14.

6. Jacques Derrida, “Mes Chances/My Chances: On Some Epicurean Stereophonies,” in Taking Chances: Derrida, Psychoanalysis, and Literature, ed. Joseph H. Smith and William Kerrigan (Baltimore, MD: Johns Hopkins University Press, 1984), 7.

7. Martin Heidegger, Identity and Difference, trans. Joan Stambaugh (New York: Harper & Row, 1969), 65.

8. Jean Baudrillard, The System of Objects, trans. James Benedict (New York: Verso, 1996), 151, 153.

9. Ray, 6.10. Karl Marx, Capital, ed. Friedrich Engels (Chicago: Encyclopaedia

Britannica, 1952), 14.11. Marx, 14.12. Marx, 31.13. Marx, 31.14. Jacques Lacan, Four Fundamental Concepts of Psychoanalysis,

trans. Alan Sheridan (New York: Norton, 1978), 72, 75.15. Henri Lefebvre, The Production of Space, trans. Donald Nicholson-

Smith (Cambridge, UK: Blackwell, 1995), 297.16. Jacques Derrida, On the Name, ed. Thomas Dutroit (Stanford, CA:

Stanford University Press, 1995), 97.17. On the Name, 97.18. Garry Leonard, Advertising and Commodity Culture in Joyce

(Gainesville: University Press of Florida, 1998), 13.19. Leonard, 15.20. Leonard, 21–22.21. Leonard, 22.22. Gregory L. Ulmer, “The Genealogy of Electracy,” Reconstruction:

Studies in Contemporary Culture 9, no. 2 (2009): online.23. F. T. Marinetti, Selected Writings (New York: Farrar, Straus &

Giroux, 1972), 99.

NOTES 193

24. Tim Dant, Materiality and Society (Maidenhead, UK: Open University Press, 2005), 35.

25. Lewis Mumford, Technics and Civilization (New York: Harcourt, Brace & World, 1963), 293.

26. Edward P. Comentale, Modernism, Cultural Production, and the British Avant-Garde (New York: Cambridge University Press, 2004), 69.

27. Comentale, 72.28. Guy Debord, Society of the Spectacle (Detroit, MI: Black and Red,

1983), 8.29. Guy Debord, Complete Cinematic Works, ed. Ken Knabb (London:

AK Books, 2005), 18.30. Guy Debord, Comments on the Society of the Spectacle, trans.

Malcolm Imrie (London: Verso, 1998), 1.31. Baudrillard, 50.32. Baudrillard, 113.33. Baudrillard, 115.34. Lefebvre, 294.35. Victor Burgin, In/Different Spaces: Place and Memory in Visual

Culture (Berkeley: University of California Press, 1996), 52.36. Lefebvre, 300.37. Lefebvre, 318.38. Lefebvre, 315.39. Burgin, 44.40. M. Christine Boyer, CyberCities (Princeton, NJ: Princeton

Architectural Press, 1996), 162, 164.41. Jeffrey Nevid et al., Abnormal Psychology in a Changing World

(Englewood Cliffs, NJ: Prentice Hall, 1991), 440.42. Lefebvre, 317.43. Paul Virilio, Speed and Politics, trans. Mark Polizzotti (New York:

Semiotext(e), 1986), 47.44. Burgin, 148.45. William Bogard, “The Coils of a Serpent: Haptic Space and Control

Societies,” Ctheory, 2007, online.46. Bogard.47. Andre Calcutt, White Noise: An A–Z of Contradictions in

Cyberfiction (New York: St. Martin’s, 1999), 115.48. Lefebvre, 289.49. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism

and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1986), 273.

50. Deleuze and Guattari, 150.51. Deleuze and Guattari, 216.52. Nicholas Abraham and Maria Torok, The Shell and the Kernel, trans.

Nicholas T. Rand (Chicago: University of Chicago Press, 1994), 181.53. Abraham and Torok, 181.

194 NOTES

3 Conspiracy of Commodities: Encyclopedic Narrative and Crowdedness

1. Edward Mendelson, “Gravity’s Encyclopedia,” in Mindful Pleasures, ed. George Levine and David Leverenz (Boston: Little, Brown, 1976), 161.

2. That same year, Mendelson also published a shorter essay called “Encyclopedic Narrative from Dante to Pynchon” in MLN.

3. Robert B. Ray, The Avant Garde Finds Andy Hardy (Cambridge, MA: Harvard University Press), 132.

4. A brief list (both incomplete and debatable in its own right) of postwar authors who might vie for consideration as “encyclope-dic” include Walter Abish, Kathy Acker, John Barth, Jorges Luis Borges, Octavia Butler, Douglas Coupland, Evan Dara, Don Delillo, Umberto Eco, William Gaddis, William Gibson, Gunter Grass, Gabriel García Márquez, James A. Michener, Georges Perec, Richard Powers, Thomas Pynchon, Raymond Queneau, Ishmael Reed, Salman Rushdie, Bob Shacochis, Leslie Marmon Silko, Phillipe Sollers, Neal Stephenson, William T. Vollman, David Foster Wallace, and Rebecca West.

5. Alan Rauch, Useful Knowledge: The Victorians, Morality, and the March of the Intellect (Raleigh, NC: Duke University Press, 2001), 24–27.

6. By “intermittent realism” I mean narratives that, for the most part but not exclusively, represent recognizable spaces with characters behaving in ways that represent a believable psychology and physics. Both Eco and Pynchon work primarily in the realist form, deviat-ing enough to suit their writerly interests as well, I would argue, to remind us that the reality we experience, in the digitized society of the spectacle, must be “interpreted.” Visible phenomena, which Walter Benjamin would refer to as “ruins” (which he also views as allegorical in nature), may possess unintentional clues as to the system underlying it. His famous statement in The Origins of Tragic Drama, “Allegories are, in the realm of thoughts, what ruins are in the realm of things” (178), actually brings all four terms into play, with one variation for the postmodern situation understanding that things are allegories in the form of ruins, remnants of a capitalist systematics which does not knowingly disclose its more oppressive methodologies.

7. Henri Lefebvre, The Production of Space, trans. Donald Nicholson-Smith (Cambridge, UK: Blackwell, 1995), 315.

8. Shoshana Felman, Jacques Lacan and the Adventure of Insight (Cambridge, MA: Harvard University Press, 1987), 89.

9. Fredric Jameson, “Postmodernism and Consumer Society,” in The Anti-Aesthetic, ed. Hal Foster (Port Townsend, WA: Bay Press, 1983), 115.

NOTES 195

10. Umberto Eco, Foucault’s Pendulum, trans. William Weaver (New York: Ballantine, 1990), 14 (hereafter cited as FP).

11. FP, 7.12. Casaubon is, in the novel, an historian of the Knights Templar; in

history, a scholar of classics and philology; and in George Eliot’s Middlemarch, the aspiring author of a book entitled The Key to All Mythologies.

13. FP, 11.14. Lefebvre, 31.15. As a semiotician of not only medieval but contemporary life, Eco

cannot avoid dealing with the social effects of the society of the spectacle, which he does most famously in Travels in Hyperreality.

16. FP, 21.17. FP, 44.18. Gregory Ulmer, Heuretics (Baltimore, MD: Johns Hopkins

University Press, 1994), 21.19. FP, 45.20. Peter Wollen, Raiding the Icebox (Bloomington: Indiana University

Press, 1993), 126.21. Guy Debord, Society of the Spectacle (Detroit, MI: Black and Red,

1983), 4.22. FP, 74.23. FP, 76.24. FP, 80.25. FP, 84.26. FP, 92.27. FP, 141.28. FP, 146.29. FP, 154.30. FP, 216.31. Thomas J. Rice, “Mapping Complexity in the Fiction of Umberto

Eco” Critique 44, no. 4 (2003): 356.32. William Pietz, “Fetishism and Materialism: The Limits of Theory

in Marx,” in Fetishism as Cultural Discourse, ed. Emily Apter and William Pietz (Ithaca, NY: Cornell University Press, 1993), 130.

33. As suggested in chapter 1, the notion of a “technologically enabled séance” may be a redundant phrasing.

34. By “generative pun” I mean the way in which a text, including not only its form and content but also its themes, may, to some extent, be created from the power (denotative, connotative, homophonic, etc.) of individual words themselves, whether or not they are used in a certain way in that text. Such puns are used (or available for use) more often than we might think. One of the more surprising overturnings of contemporary film theory, for instance, comes from Greg Ulmer’s suggestion in Applied Grammatology (305) that, on the level of “inner speech,” Eisenstein’s Ivan the Terrible is not a

196 NOTES

gods sequence demystifying Ivan himself, but Stalin’s cult of Lenin since Ivan/Stalin was the creator of Russia’s linen/Lenin trade and linen is one of the main examples of commodity fetishism in Marx’s Capital.

35. FP, 307.36. FP, 308.37. Thomas Keenan, “The Point Is to (Ex)Change It,” in Fetishism as

Cultural Discourse, ed. Emily Apter and William Pietz (Ithaca, NY: Cornell University Press, 1993), 166.

38. Ken Kirkpatrick, “The Conspiracy of the Miscellaneous in Foucault’s Pendulum,” Studies in Twentieth-Century Literature 19, no. 2 (1995): 174.

39. Umberto Eco, Postscript to The Name of the Rose, trans. William Weaver (New York: Harcourt Brace Jovanovich, 1984), 7.

40. Umberto Eco, Travels in Hyperreality, trans. William Weaver (New York: Harcourt Brace Jovanovich, 1986), xi.

41. Fredric Jameson develops this idea at length in his chapter on Sartre in Marxism and Form.

42. Indeed, this statement may suggest that Eco’s ultimate “linguistic theory,” at least pedagogically speaking, is that of “immersion” and “simulation.” This would make sense if, as I am arguing here, the dominant mood and structure of late capitalism is crowdedness. One immerses oneself in crowdedness, consequently simulating it in the encyclopedic narrative, thereby allowing the reader to experi-ence both its seductiveness and its horror.

43. Lefebvre, 334.44. FP, 311.45. FP, 479.46. Robert Phiddian, “Foucault’s Pendulum and the Text of Theory,”

Contemporary Literature 38, no. 3 (1997): 542.47. Thomas Pynchon, Gravity’s Rainbow (New York: Viking, 1973), 7.48. Quoted in Kristen Ross, Fast Cars, Clean Bodies (Cambridge, MA:

MIT Press, 1996), 21.49. An “intermittent realism” would seem to call for a different under-

standing of metonymy and its relation to allegory. Although a novel like Gravity’s Rainbow certainly uses metonymy in its Jakobsonian sense, which as Roland Barthes points out asks the questions, “What can follow what I say?” or “What can be engendered by the episode I am telling?” (Rustle of Language 8), it also uses it in the sense that metonymy is a part touching upon a “whole.” The allegorical metonymy works by a direct touch, real or virtual, upon the larger structure, just as (to return to Benjamin) the ruin touches upon its past, “fully-formed” structure.

50. Pynchon, 760.51. Quoted in Timothy Materer, James Merrill’s Apocalypse (Ithaca, NY:

Cornell University Press, 2000), 34. Baudrillard’s statement here,

NOTES 197

about the abstraction of a society based upon simulation, presents the dialectical other to crowdedness, which is isolation. The society of simulation, where we are dividuated by microscopic technolo-gies, is the society of the atom both extremely close and extremely abstract, and would thus seem to call for a quantum Marxism (see chapter 8).

52. Pynchon, 17.53. Thomas Moore, The Style of Connectedness (Columbia: University of

Missouri Press, 1987), 139.54. Moore, 144.55. Khachig Tololyan, “War as Background in Gravity’s Rainbow,”

in Approaches to Gravity’s Rainbow, ed. Charles Clerc (Columbia: Ohio State University Press, 1983), 52.

56. Pynchon, 25.57. Pynchon, 26.58. The African tribe of the Hereros, who search for rocket 00001 as a

“substitute totem” (Seed 182), ensure that the Rocket is a fetish in the anthropological sense of the word as well.

59. Carl Freedman, “Towards a Theory of Paranoia,” Science Fiction Studies 11, no. 1 (1984): 17.

60. Pynchon, 49.61. Jacques Derrida, Margins of Philosophy, trans. Alan Bass (Chicago:

University of Chicago Press, 1982), 195.62. Bill Brown, “The Secret Life of Things,” Modernism/modernity 6,

no. 2 (1999): 9.63. Mark Siegel, Pynchon: Creative Paranoia in Gravity’s Rainbow (Port

Washington, NY: Kennikat, 1978), 44.64. Pynchon, 647.65. Pynchon, 648.66. Moore, 171. Alec McHoul and David Houls situate this specular

crowding in relation to the novel’s fixation with cinema: “[F]ilm is not only out to shoot Slothrop, no one escapes it. Not even the director, Pointsman, can stay out of camera range” (40).

67. Pynchon, 184.68. Benjamin Buchloh, Neo-Avantgarde and Culture Industry

(Cambridge, MA: MIT Press, 2000), 319.69. Pynchon, 186.70. Tololyan, 56.71. Frederic Jameson, Postmodernism; or, The Cultural Logic of Late

Capitalism (Durham, NC: Duke University Press, 1991), 283.72. Postmodernism, 284.73. Lefebvre, 277.74. Postmodernism, 266.75. Olav Severijnen, “The Problem of Narrative in Umberto Eco’s

Foucault’s Pendulum and Thomas Pynchon’s Gravity’s Rainbow” Neophilologus 75, no. 1 (1991): 338.

198 NOTES

76. Marjorie Perloff, Poetics of Indeterminacy (Princeton, NJ: Princeton University Press, 1981), 177.

77. Stefan Matteshich, Lines of Flight (Raleigh, NC: Duke University Press, 2002), 138.

78. Pynchon, 105.79. Pynchon, 284.80. Pynchon, 285.81. Fredric Jameson, The Political Unconscious (New York: Routledge,

1983), 31.82. Walter Benjamin, The Origins of German Tragic Drama, trans. John

Osborne (London: New Left Books, 1977), 175. See endnotes 6 and 49 for how Benjamin’s theory of allegory may be understood, and reworked, in the context of encyclopedic narrative.

83. Pynchon, 285.84. Victor Burgin, In/Different Spaces: Place and Memory in Visual

Culture (Berkeley: University of California Press, 1996), 128.85. Lefebvre, 317.86. Pynchon, 712.87. Pynchon, 742.88. Garry Leonard, “Hystericising Modernism: Modernity in Joyce,” 11.89. Leonard, 11.90. Mendelson, 172.91. Lefebvre, 420.92. It has been noted by [anonymous reader] that “the New York

Subway’s crowds and their overheard detritus are the star of the poem,” a reading which would be in keeping with the encyclope-dia’s attempts to organize scattered information in compact form and with this chapter’s assertion of the link between human crowds, psychic crowdedness, and the textual crowdedness of the encyclope-dic narrative.

93. Bruce Andrews, Paradise and Method: Poetics and Praxis (Evanston, IL: Northwestern University Press, 1996), 38.

94. Bruce Andrews, “Reading Notes,” in Contemporary Poetics, ed. Louis Armand (Evanston, IL: Northwestern University Press, 2007), 210.

95. “Reading Notes,” 198.96. “Reading Notes,” 204.97. Bruce Andrews, I Don’t Have Any Paper So Shut Up: (Or, Social

Romanticism) (Los Angeles: Sun and Moon, 1992), 9.98. This idea of interminable analysis of culture will play a major role in

my theory of “quantum Marxism” in chapter 8.99. I Don’t Have Any Paper, 10.

100. I Don’t Have Any Paper, 13.101. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and

Schizophrenia, trans. Robert Hurley, Mark Seem, Helen R. Lane (New York: Viking, 1977), 323.

NOTES 199

102. I Don’t Have Any Paper, 15–17.103. I Don’t Have Any Paper, 18.104. I Don’t Have Any Paper, 59.105. I Don’t Have Any Paper, 21.106. “Reading Notes,” 203.107. I Don’t Have Any Paper, 26.108. I Don’t Have Any Paper, 9.109. Walter Benjamin, “Theoretics of Knowledge, Theory of Progress,”

trans. Leigh Hafrey and Richard Sieburth, Philosophical Forum 15 (1984): 31.

110. I Don’t Have Any Paper, 30.111. I Don’t Have Any Paper, 33.112. I Don’t Have Any Paper, 35.113. I Don’t Have Any Paper, 38.114. Paradise and Method, 58.115. I Don’t Have Any Paper, 43.116. I Don’t Have Any Paper, 44.

4 From Spectacle to Fascicle: Walter Benjamin, Carolyn Forché,

and Messianic History

1. Qtd. in Kevin Stein, Private Poets, Worldly Acts (Athens: Ohio University Press, 1996), 147.

2. Jill Taft-Kaufman, “Jill Taft-Kaufman Talks with Carolyn Forché,” Text and Performance Quarterly 10 (1990): 65.

3. One notable exception (if we count Seoul’s Yeul Eum Press as part of the American “critical apparatus”) in the American context of work in the Benjaminian mode of The Arcades Project would be Walker K. Lew’s Excerpts from Dikth/DIKTE for Dictée (1982), which attempts to address Theresa Hak Kyung Cha’s groundbreak-ing Dictée on its own terms,

via the presentation of various elements such as source material, suggestive meta-narratives from a Korean children’s book (cap-tioned in French), photographs from the Korean War, or citations of Dictee’s themes as they reverberate in such works as Marguerite Yourcenar’s Memoirs d’Hadrien. Most importantly, the book challenges the reader to experience it phenomenologically—as a “thing in itself,” as a brief film, as a concrete, complex interven-tion—thus taking Cha’s work with reader response a step further. Excerpts was a major contribution to the understanding of Cha in the Asian American community, and a significant development in the possibilities for criticism in the use of juxtaposed citations and visual imagery, with no authorial commentary—a mosaic of quotation, as had been imagined by Walter Benjamin. (Stefans)

200 NOTES

4. Taft-Kaufman, 65.5. Taft-Kaufman, 67.6. Walter Benjamin, Illuminations, trans. Harry Zohn (New York:

Schocken, 1969), 224.7. Carolyn Forché, The Angel of History (New York: HarperCollins,

1994), 9.8. Illuminations, 218.9. See the notes at the end of the volume.

10. For an excellent description of the physiologies fad, see Richard Sieburth’s article “Same Difference: The French Physiologies, 1840–1842” in Notebooks in Cultural Analysis 1 (1984).

11. Illuminations, 226.12. The Angel of History, 5.13. The Angel of History, 5.14. The Angel of History, 21.15. The Angel of History, 5.16. The Angel of History, 5.17. The single most important work on the contemporary ideologies of

the photograph is still Susan Sontag’s On Photography as a marker of absence rather than an assurance of historical accuracy.

18. This does not mean that a close, photogenic analysis of Hollywood film does not prove fruitful, but even those who practice this sort of analysis would on the whole admit that the number of truly reve-latory or subversive stills in any classic film are relatively small in comparison to the number that more than adequately serve the ends of invisible (both formally and ideologically) style.

19. [Anonymous reviewer] points out that these lines allude to the nurs-ery rhyme “The House that Jack Built,” which is also echoed in Elizabeth Bishop’s “Visits to St. Elizabeth’s” (about Ezra Pound) and Adeena Karasick’s “The House that Hijack Built” (about the politics of 9/11). This would, in all three cases, designate the attempt to narrate history, particularly traumatic history, as an act of metonymic naïveté rather than metaphorical certainty. In this sense, one could say that Forché’s methods are in keeping with the ideals of Intuitions In, whose relationship to naïveté will be explored later in the chapter.

20. Walter Benjamin, Reflections, ed. Peter Demetz (New York: Schocken, 1986), 230.

21. Reflections, 230.22. “Shukkei-en is an ornamental garden in Hiroshima. It has been

restored.”—Forché’s note.23. The Angel of History, 70.24. Walter Benjamin, The Arcades Project, trans. Howard Eiland and

Kevin McLaughlin (Cambridge, MA: Belknap, 1999), 471.25. Japanese ancestor worship. A common Shinto practice involves mak-

ing origami structures and burning them. It is believed that these

NOTES 201

objects enter into the afterlife fully formed and able to accompany one’s ancestors.

26. Arcades Project, 349.27. This idea of a theo-technical writing will be addressed more exten-

sively in chapter 5, given that both of its poets (James Merrill and Hannah Weiner) avow a spiritualist methodology in their writing.

28. Illuminations, 257.29. The Angel of History, 17.30. Peter Hitchcock, Oscillate Wildly (Minneapolis: University of

Minnesota Press, 1999), 170.31. Stephen Kellert, In the Wake of Chaos: Unpredictable Order in

Dynamical Systems (Chicago: University of Chicago Press, 1993), 113.

32. As philosopher of science Paul Feyerabend notes, “Science is neither a single tradition, nor the best tradition there is, except for people who have become accustomed to its presence, its benefits and its disadvantages” (238).

33. Hitchcock, 168.34. N. Katherine Hayles, Chaos Bound: Orderly Disorder in Contemporary

Literature and Science (Ithaca, NY: Cornell University Press, 1990), 141.

35. Hitchcock, 184.36. And, of course, the Latin root of the word text suggests “that which

is woven, web, texture.” OED.37. The Angel of History, 40.38. The Angel of History, 42.39. The Angel of History, 42–43.40. Jacques Derrida, Specters of Marx, trans. Peggy Kamuf (New York:

Routledge, 1994), 168.41. A. B. Çambel, Applied Chaos Theory: A Paradigm for Complexity

(New York: Academic Press, 1993), 69.42. Çambel, 59.43. Çambel, 60.44. The Angel of History, 4.45. The Angel of History, 4.46. Initial conditions include the spatial and temporal categories that

change from system to system before a phenomenon enters into motion.

47. Çambel, 70.48. Taft-Kaufman, 67.49. Carolyn Forché, The Country Between Us (New York: HarperCollins,

1981), 12.50. “[Y]our study is located at the crossroads of magic and positivism.

That spot is bewitched. Only theory could break the spell”—Adorno in a letter to Walter Benjamin, see Fredric Jameson’s Aesthetics and Politics, 129.

202 NOTES

51. The Country Between Us, 63, 64.52. The Country Between Us, 13.53. The Angel of History, 42.54. Taft-Kaufman, 63.55. Benjamin writes in “The Work of Art in the Age of Mechanical

Reproduction,” “The camera reduces us to unconscious optics as does psychoanalysis to unconscious impulses” (Illuminations 237).

56. Carolyn Forché, Against Forgetting: Twentieth Century Poetry of Witness (New York: Norton, 1993), 30.

57. Dean MacCannell, The Tourist: A New Theory of the Leisure Class (New York: Schocken, 1976), 6–7.

58. The Angel of History, 81.59. Against Forgetting, 31.60. Against Forgetting, 29.61. Against Forgetting, 371.62. Against Forgetting, 372.63. Another image from “Picture Postcards.”64. Çambel, 220.65. Robert B. Ray, The Avant Garde Finds Andy Hardy (Cambridge,

MA: Harvard University Press, 1994), 9.66. The Angel of History, 81.67. Joseph Arsenal and Tony Brinkley, “Traumatized Words, Trees, a

Farmhouse: In Response to The Angel of History,” Sagetrieb 16, no. 3 (1997): 103.

68. Although this essay is not as ambitious or formally experimental as Lew’s book mentioned in footnote 3, one might note that its publication in Sagetrieb, a journal that advertises itself as dedicated to poets working in the tradition of Pound and Williams, repre-sents one of the rare spaces, perhaps due to its subject matter, of occasional relaxation (within the academic format) from traditional academic exposition.

69. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1986), 3.

70. The trauma, and perhaps guilt, implied in this “utterance” stems not only from a sense of shame at the inconceivability of the Shoah, or from the fact that what traumatic memories and forgettings really attempt to stage, psychologically, are missed encounters, but is in its intertext a statement on the nature of historicity itself. The speaker of the slightly modified lines (reminiscent, by way of nega-tion, of Whitman’s “I suffered. . . . I was there”) is Elias Canetti, the German-Jewish, Nobel Prize–winning author who left Germany after the Anschluss of Austria in 1938 and so literally was not “there” but in England, where he lived the remainder of his life. His missed encounter takes the form, in the intertext, of survivor’s guilt. The actual source of the statement, however, is from Canetti’s The

NOTES 203

Human Province: “Don’t say: I was there. Always say: I was never there” (221). Written contemporaneously with the initial publica-tion of Voices of Marrakesh: A Record of a Visit, it suggests what is perhaps always necessary to acknowledge in relation to history and memory, no matter how “direct” that encounter may seem—that such an encounter always occurs in an impossible space, “an else-where that one cannot say one has really visited” (Newton 205).

71. In his book Discourse Networks, Friedrich Kittler reminds us of the early “appearance of a writing angel in the trademark of a gramo-phone company” (298). The gramophone is hence associated with a supernatural (because unmotivated) ability to record everything. Conversely, the ability to be a “recording angel” must be associated with an attention to shifts in media technology.

72. The Angel of History, 46.73. Taft-Kaufman, 67.74. The Angel of History, 21.75. For such an attempt to subvert style as such, as a single voice con-

nected to a single authorial identity, see Derrida’s Spurs: Nietzsche’s Styles.

76. The Angel of History, “Notes.”77. Jeffrey Nevid et al., Abnormal Psychology in a Changing World

(Englewood Cliffs, NJ: Prentice Hall, 1991), 110.78. Michel Leiris, “The Sacred in Everyday Life,” in The College of

Sociology (Minneapolis: University of Minnesota Press, 1991), 24.79. “In systems that have been refuted only the personal interests us,

for that alone is irrefutable. It is possible to paint a man’s portrait in three anecdotes”—“Second Preface” to Philosophy in the Tragic Age of the Greeks, trans. Marianne Cowan (New York: Regnery, 1996).

80. Frederic Jameson, Marxism and Form (Princeton, NJ: Princeton University Press, 1974), 216.

81. The Angel of History, 58.82. See chapter 7 for Derrida’s conception of “the trace” as a form of

writing/reading that defies conceptuality in any traditional sense and chapter 1 for more description of his application of tracing as a reading method in the event of “the signature.”

83. Jacques Derrida, Signsponge, trans. Richard Rand (New York: Columbia University Press, 1984), 116.

84. Forché’s name, coincidentally, sounds much like the French word for “unintentional.”

85. Taft-Kaufman, 66.86. Qtd. in Arsenault and Brinkley, 104.87. The Angel of History, 20.88. The Angel of History, “Notes.”89. Stein, 163–64.90. The Angel of History, 62.91. Arcades Project, 349–50.

204 NOTES

92. For an explication of the differences between rhizomatic and arbo-rescent schemas, see pp. 3–25 of Deleuze and Guattari’s A Thousand Plateaus.

93. Jacques Derrida, Archive Fever: A Freudian Impression, trans. Eric Prenowitz (Chicago: Chicago University Press, 1995), 68.

94. Taft-Kaufman, 65.95. The Angel of History, 40.96. The Angel of History, 44.97. Alexandra Shatskitch, “Marc Chagall and the Theatre,” in

Marc Chagall: The Russian Years 1906–1922 (Frankfurt: Schirn Kunsthalle, 1991), 76.

98. Shatskitch, 80.99. The Angel of History, 41.

100. Alexander Kamensky, “Chagall’s Early Work in the Soviet Union,” in Chagall: The Russian Years 1906–1922 (Frankfurt: Schirn Kunsthalle, 1991), 43.

101. “initiated modern experimental dynamics in the laboratory” (Çambel 65).

102. A fact pointed out to Çambel by his daughter, whose age he left unspecified.

103. The Angel of History, 41.104. Illuminations, 257–58.105. Nevid, 110.106. Hitchcock, 185.107. The Country Between Us, 59.

5 Spectral Conversions: James Merrill and Hannah Weiner

1. Walter Benjamin, Reflections, ed. Peter Demetz (New York: Schocken, 1986), 228.

2. Jacques Derrida, “Living On: Borderlines,” in Deconstruction and Criticism (New York: Seabury, 1979), 94–95.

3. James Merrill, The Changing Light at Sandover (New York: Knopf, 1982), 87.

4. Greil Marcus, “The Long Walk of the Situationist International,” in Guy Debord and the Situationist International, ed. Tom McDonough (Cambridge, MA: MIT, 2004), 3.

5. Sandover, 109.6. Walter Kalaidjian, Languages of Liberation: The Social Text in

Contemporary American Poetry (New York: Columbia University Press, 1989), 102.

7. Devin Johnston, “Resistance to the Message: James Merrill’s Occult Epic,” Contemporary Literature 41, no. 1 (2000): 88.

NOTES 205

8. James Merrill, Recitative: Prose by James Merrill, ed. J. D. McClatchy (San Francisco: North Point, 1986), 72.

9. Johnston, 92–93.10. C. A. Buckley, “Quantum Physics and the Ouija-Board: James

Merrill’s Holistic World View,” Mosaic 26, no. 2 (1993): 41.11. C. A. Buckley, “Exploring The Changing Light at Sandover: An

Interview with James Merrill,” Twentieth Century Literature 38, no. 4 (1992): 417.

12. Ross Labrie, James Merrill (Boston: Twayne, 1982), 113.13. Sandover, 15–17.14. Sandover, 8.15. Sandover, 47–49.16. Johnston, 109.17. Extremely fascinating (and mind-boggling) discussions of the seem-

ingly infinite permutations of the proper name can be found in Jacques Derrida’s Glas and Signsponge.

18. Robert Polito, A Reader’s Guide to James Merrill’s The Changing Light at Sandover (Ann Arbor: University of Michigan Press, 1997), 40.

19. Avital Ronell, Dictations: On Haunted Writing (Bloomington: Indiana University Press, 1986), xv.

20. (London: Shambhala, 1991), 141.21. In making this statement, I am not contradicting Sword’s thesis

that references to science are used to legitimate spiritualism, but merely pointing out the truly analogous processes performed by modernist mediums and contemporary technologies of communi-cation. For more discussion of such analogies, see Friedrich Kittler’s Gramophone, Film, Typewriter.

22. Sandover, 5.23. André Breton, What Is Surrealism?, ed. Franklin Rosemont (New

York: Pathfinder, 1978), 98.24. Timothy Materer, “Death and Alchemical Transformation in James

Merrill’s The Changing Light at Sandover,” Contemporary Literature 29, no. 1 (1988): 103.

25. Kalaidjian, 102.26. Sandover, 91.27. Sandover, 36–39.28. Indeed, as of this writing the seemingly implacable Merrill-Lynch

no longer exists. As to those who have done well in the market by gaming the system, such as Goldman-Sachs, even they have not been able to do so without the periodic need for government inter-vention as an antidote to their shenanigans.

29. Kalaidjian, 103.30. Jacques Derrida, “Mes Chances/My Chances: On Some Epicurean

Stereophonies,” in Taking Chances: Derrida, Psychoanalysis, and

206 NOTES

Literature, ed. Joseph H. Smith and William Kerrigan (Baltimore, MD: Johns Hopkins University Press, 1984), 15.

31. See, for instance, Freud’s The Psychopathology of Everyday Life and Lacan’s “The Insistence of the Letter in the Unconscious.”

32. The Surrealists valued automatic methods for their ability to pro-duce manifest content that is relatively unmediated by rationalizing processes.

33. Greg Ulmer, “The Miranda Warnings: An Experiment in Hyperrhetoric,” Hyper/Text/Theory, ed. George P. Landow (Baltimore, MD: Johns Hopkins University Press, 1994), 360–61.

34. Roland Barthes, “Theory of the Text,” in Untying the Text, ed. Robert Young (Boston: Routledge, 1981), 44.

35. Nicolas Abraham and Maria Torok, The Shell and the Kernel, trans. Nicholas T. Rand (Chicago: University of Chicago Press, 1994), 171–76.

36. Abraham and Torok, 173.37. Sandover, 3.38. Jeffrey Donaldson, “The Company Poets Keep: Allusion, Echo,

and the Question of Who Is Listening in W. H. Auden and James Merrill,” Contemporary Literature 36, no. 1 (1995): 51.

39. One could also say that Merrill “errs” by not allowing David Jackson’s hands their full “destinerrancy” (Derrida’s term for, among other things, the wandering or erring that, in its instantiations, always oscillates nondialectically between randomness and intuitions) with respect to the Ouija board’s messages, instead attempting to inscribe them in a narrative that works against the automatism of the process itself.

40. Sandover, 3.41. Labrie, 1.42. James Merrill, The Seraglio (New York: Atheneum, 1987), 36.43. Sandover, 3.44. Sandover, 4.45. Laurie Anderson, “Stories from the Nerve Bible,” in Postmodern

American Fiction, ed. Paula Geyh, Fred G. Leebron, and Andrew Levy (New York: Norton, 1998), 224.

46. Hunter S. Thompson, letter to Tom Wolfe in Fear and Loathing in America, ed. Douglas Brinkley (New York: Simon &Schuster, 2001).

47. Buckley, 419.48. Sandover, 72.49. Sandover, 262.50. According to the Oxford English Dictionary, the Latin preposition

ob is a term that is spatially indeterminate, which can mean, among other things, “in the direction of, towards, or against.”

51. Marsha Bryant gives a concise history of this critical tradition in her book Auden and Documentary in the 1930s (Charlottesville: University Press of Virginia, 1997), 53–60.

NOTES 207

52. Sandover, 87.53. Seraglio, vii.54. Sandover, 4.55. Sandover, 87.56. Sandover, 87.57. See the “Documenting the Craftsman” section of Bryant, 24–34;

see also her afterword, 171–76.58. Sandover, 4.59. Buckley, 421.60. What Is Surrealism?, 20.61. Sandover, 113.62. Sandover, 3.63. Interestingly, the very term nuclear family is irrevocably intertwined

with atomic physics, as its first recorded use occurs in a book called Social Structure, written by G. P. Murdock and published in 1949.

64. Sandover, 476.65. Sandover, 210.66. Sandover, 183.67. Sandover, 292.68. Bryant, 9.69. Ashley Brown, “An Interview with James Merrill,” Shenandoah 19,

no. 4 (1968): 7.70. W. H. Auden, Selected Poems, ed. Edward Mendelson (New York:

Vintage, 1979), 129.71. Slavoj Žižek, The Sublime Object of Ideology (London: Verso,

1989), 32.72. Auden, 82.73. Auden eventually voted for Pound.74. Sandover, 554.75. Hauntology is Derrida’s term, used throughout Specters of Marx, for

what happens to ontology—how it is disrupted, made uncanny—when affected by the various effects of spectrality he delineates throughout the book.

76. Jacques Derrida, Specters of Marx, trans. Peggy Kamuf (New York: Routledge, 1994), 45.

77. Sandover, 555.78. Maria Damon, “Hannah Weiner Beside Herself: Clairvoyance After

Shock or The Nice Jewish Girl Who Knew Too Much,” theeastvil-lage.com.

79. Hannah Weiner, The Fast (New York: United Artists, 1992), 1.80. The Fast, 1.81. Nadia Choucha, Surrealism and the Occult (Rochester, NY: Destiny,

1992), 49.82. See “A Tribute to Hannah Weiner” on the Hannah Weiner home

page.83. Ron Silliman, “A Tribute to Hannah Weiner,” online.

208 NOTES

84. The Fast, 2.85. The Fast, 2.86. Evan Watkins, Everyday Exchanges (Stanford, CA: Stanford

University Press, 1998), 9.87. The Fast, 2.88. The Fast, 3.89. Qtd. in Mary Ann Caws, The Surrealist Voice of Robert Desnos

(Amherst: University of Massachusetts Press, 1977), 8.90. The Fast, 1.91. Hannah Weiner, Spoke (College Park, MD: Sun and Moon, 1984), 7.92. Hannah Weiner, “Working Notes,” www.scc.rutgers.edu/however/

print_archive/hwnotes.html.93. Gloria Anzaldúa, Borderlands/La Frontera, in Postmodern American

Fiction, ed. Paula Geyh, Fred G. Leebron, and Andrew Levy (New York: Norton, 1998), 188.

94. Michael Taussig, Shamanism, Colonialism, and the Wild Man (Chicago: University of Chicago Press, 1987), xiii.

95. Clairvoyant Journal (1974), unlike Spoke, depicts nonclairvoyant material in small letters and clairvoyant material in all caps.

96. Sandover, 5.97. Johan Huizinga, Homo Ludens (Boston: Beacon, 1955), 132.98. Charles Ryrie, ed., The Ryrie Study Bible (Chicago: Moody, 1983),

1736.99. Spoke, 13.

100. Jack Kerouac, Vanity of Duluoz (New York: Penguin, 1994), 9.101. Bertolt Brecht, Brecht on Theater, ed. and trans. John Willet (New

York: Hill & Wang, 1994), 109.102. Charles Bernstein, “Weak Links,” in Weeks, by Hannah Weiner

(Madison, WI: Xexoxial, 1990).103. Hannah Weiner, Weeks (Madison, WI: Xexoxial, 1990), 1.104. Weeks, 1.105. Fredric Jameson, “Notes on Globalization as a Philosophical Issue,”

in The Cultures of Globalization (Durham, NC: Duke University Press, 1998), 70.

106. The Fast, 12–13.107. The Fast, 17.108. Hannah Weiner, Clairvoyant Journal, in Postmodern American

Poetry, ed. Paul Hoover (New York: Norton, 1994).109. Weeks, 5.110. Weeks, 4.111. Weeks, 2.112. Henri Lefebvre, The Production of Space, trans. Donald Nicholson-

Smith (Cambridge, UK: Blackwell, 1995), 300.113. Lefebvre, 318.114. The Fast, 17.115. Lefebvre, 315.

NOTES 209

116. Lefebvre, 317.117. Walter Benjamin, The Arcades Project, trans. Howard Eiland and

Kevin McLaughlin (Cambridge, MA: Belknap, 1999), 473.118. Weeks, 5.119. Spoke, 34–35.120. Clairvoyant Journal, 188.121. Marjorie Perloff, Wittgenstein’s Ladder (Chicago: University of

Chicago Press, 1996), xiv.122. Garry Leonard, “Hystericising Modernism: Modernity in Joyce,” 1.123. Leonard, 1.124. See Bill Brown’s fascinating analysis of this story in “The Secret Life

of Things.”125. In an interview on Charles Bernstein’s Line/break Radio Poetry

Series.126. Thomas Keenan, “The Point Is to (Ex)Change It,” in Fetishism as

Cultural Discourse, ed. Emily Apter and William Pietz (Ithaca, NY: Cornell University Press, 1993), 168.

127. Hannah Weiner, “Untitled,” Abacus 107 (1997).128. Clairvoyant Journal, 185.129. For Weiner’s visions are of the same order and degree as the subject

of a recent Volkswagen commercial. The character suffers through-out the day with a Volkswagen literally “on his mind”—placed atop his skull. Starting out at matchbox size, the car grows to such an enormous size by dinner time that his only option is to “go ahead and buy the Volkswagen.”

130. Lefebvre, 372.131. Gilles Deleuze and Félix Guattari, A Thousand Plateaus: Capitalism

and Schizophrenia, trans. Brian Massumi (Minneapolis: University of Minnesota Press, 1986), 273.

132. Ron Silliman, “Blurb,” Silent Teachers/Remembered Sequel (Providence, RI: Tender Buttons, 1993).

133. Hannah Weiner, Silent Teachers/Remembered Sequel (Providence, RI: Tender Buttons, 1993), 9.

6 Sylvia Plath and Electracy: Spectral Poetics With(out) Specters

1. See chapter 1 for a definition of what switch words are and how they operate in the new intuitive/electronic paradigm.

2. Sylvia Plath, Johnny Panic and the Bible of Dreams and Other Prose Writings, ed. Ted Hughes (London: Faber & Faber, 1979), 17.

3. Friedrich Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford, CA: Stanford University Press, 1999), 90. The phrase “talking cure,” which came to be adapted by Freud as the cornerstone of psychoanalysis, was,

210 NOTES

according to Freud’s biographer Peter Gay, coined by Josef Breuer’s patient “Anna O.” in 1881 (Freud: A Life for Our Time 65).

4. Johnny Panic, 26.5. My citations of Plath’s poetry come from The Collected Poems

edited by Ted Hughes. While I do feel, for instance, that the “restored” version of Ariel is an interesting text in its own right, central to my argument is that reading Plath’s work must follow her lead in bringing her work into “media conditions,” an act that must not fetishize a “final” version of the Ariel period based upon some sense of coherence or authorial intention, but instead see it as a digital network of interrelations within the poems and in relation to the world at large. Plath’s achievement in the Ariel poems involves a certain negative capability, electronically inflected, which does not encourage the elimination of interpretive possibilities in the name of “her version” of Ariel, even if she at one point made choices about a “manuscript” she called Ariel.

6. Gregory Ulmer, “The Genealogy of Electracy,” Reconstruction: Studies in Contemporary Culture 9, no. 2 (2009), http://recon-struction.eserver.org/092/ulmer.shtml.

7. The case of one of the most famous Victorian mediums and the psy-chiatrist who wrote a study of her entitled From India to the Planet Mars is to the point here:

[Hélène] Smith’s psychic automatism (and [Théodore] Flournoy’s depiction of it) also evinces the modernist fascina-tion with automation. In the preface to his study, Flournoy laments that the French equivalent of the English term “automatist” has not gained general acceptance, and that he must consequently retain the more spiritually connotative “medium” in his exposition (7). . . . Etymologically speaking, Flournoy has no need to worry about his chosen terminol-ogy. The technological use of the word “medium” precedes its spiritual use by over 200 years. The “dominant” spiritual meaning of the word does not appear in print until 10 years after the invention of photography. As for Smith herself, her “triple mediumship: visual, auditive, and typtological” (9) cor-responds to each major “medium” at the turn of the century—film, gramophone, and typewriter. . . . Conversely, the media that Smith simulated are ghostly in their own right. . . . [E]ven the ancient technology of writing has its own god, Thoth, who was a prototype of Hermes and the intimate relationship between all things technical and spiritual. The oldest surviving depiction of a print shop takes the form of a danse macabre; telegraphy leads to table rapping and other connections to the beyond; photography leads to spirit photos; telephones, radio, and sound recordings lead to spirit voices. (Clinton 11–12)

NOTES 211

8. Helen Sword, Ghostwriting Modernism (Ithaca, NY: Cornell University Press, 2002), x.

9. Johnny Panic, 17–18.10. Johnny Panic, 21.11. Johnny Panic, 18.12. Johnny Panic, 19.13. Jean Baudrillard, “Simulacra and Simulation,” in Postmodern

American Fiction, ed. Paula Geyh, Fred G. Leebron, and Andrew Levy (New York: Norton, 1998), 631.

14. Walter Benjamin, Reflections, ed. Peter Demetz (New York: Schocken, 1986), 237.

15. Sylvia Plath, The Collected Poems, ed. Ted Hughes (New York: Harper & Row, 1981), 129–30 (hereafter cited as CP).

16. Gramophone, 257.17. William Shakespeare, The Complete Works, ed. David Bevington

(London: Scott, Foresman, 1980), 1038.18. Gramophone, 256.19. As dated by the Lilly Library.20. Johnny Panic, 264.21. Paul Alexander, Rough Magic (New York: Viking, 1991), 119–20.22. Friedrich Kittler, Discourse Networks, trans. Michael Metteer

(Stanford, CA: Stanford University Press, 1990), 279.23. Alexander, 120.24. Greg Ulmer, Internet Invention: From Literacy to Electracy (New

York: Longman, 2003), 1–10.25. Bruce Robbins, “The Sweatshop Sublime,” PMLA 117, no. 1

(2002): 85.26. This is my “psychoanalytic” deduction from the somewhat vitupera-

tive letters concerning the article in PMLA’s subsequent issue.27. Robin Peel, Writing Back: Sylvia Plath and Cold War Politics

(Madison, WI: Fairleigh Dickinson University Press, 2002), 182.28. Plath’s description of the horse in her BBC broadcast “New Poems

by Sylvia Plath.”29. CP, 239.30. Also from the BBC broadcast.31. CP, 239.32. CP, 239.33. CP, 239.34. Recall, from chapter 5’s discussion of automatism André Breton’s

dismissive commentary on revision for any reason, moral, aesthetic, or otherwise, as entering the “house of correction”.

35. Kate Moses, Wintering: A Novel of Sylvia Plath (New York: Anchor, 2003), 134.

36. Although the first draft of Plath’s “Ariel” used the phrase “nigger-eye / Blackberries,” it is worth noting that, in England, “blackberries”

212 NOTES

sometimes refer to the berries of the hawthorn. What seems clear, either way, is that there is a colloquial precedent, if not an alibi, for Plath using the phrase “Nigger-eye” in her poem. The colloquialism of the term, at any rate, stems from the long history of racism, includ-ing slavery and the slave trade, in both Europe and the United States.

37. Greg Ulmer, “The Miranda Warnings: An Experiment in Hyperrhetoric,” in Hyper/Text/Theory, ed. George P. Landow (Baltimore, MD: Johns Hopkins University Press, 1994), 352.

38. “Miranda Warnings,” 360.39. CP, 239.40. I use the term “electrate medium” here in lieu of “Plath” or “the

speaker” in order to deliberately confuse the question of sending and receiving messages, the very confusion at stake in the poetics of electracy and mediumship. In this sense, the term brings together in mutual responsibility, indeed in an inseverable circuit, the writer/rider, the medium itself, and the reader/critic.

41. CP, 222–24.42. Greg Ulmer, Electronic Monuments (Minneapolis: University of

Minnesota Press, 2005), 140.43. Shira Wolosky, in “The Ethics of Foucauldian Poetics,” notes that

Plath “has an almost uncannily Foucauldian eye and ear . . . [where the self] is exposed as institutional site and intersection of inter-ests and rhetorics: commercial, medical, aesthetic, political” (493). Electrate ethics, as Plath realizes them, could be said to invert this structure so that the rider/writer is not invariably the static site of disciplined intersection, but a sprightly interloper among dis-ciplinary networks that are always subject to rerouting/rewiring. The emphasis is on movement and constant negotiation of political events rather than topos and eternal values, as Ulmer points out in Electronic Monuments: “In the same way that the electrate logic of conduction does without the abstractions of concepts, electrate eth-ics does without the transcendences of ideals” (132).

44. Internet Invention, 81.45. According to the Oxford English Dictionary, the Latin preposition

is a term that is spatially indeterminate, which can mean, among other things, “in the direction of, towards, [or] against.”

46. André Breton, What Is Surrealism?, ed. Franklin Rosemont (New York: Pathfinder, 1978), 123.

47. Ariel, in Hebrew, can alternately designate “altar,” “lion of God,” and “Jerusalem.”

48. CP, 204–5.49. CP, 213.50. CP, 223.51. CP, 231–32.52. In Internet Invention (35–37), Ulmer suggests that electracy move

from using the word text, derived as it is from “textiles” and “the

NOTES 213

craft of weaving,” to the alternate fabric of felt, not only because the “hook-and-eye” patterns that constitute felt are more unpredictable than those of other textiles and thus a better model of electracy’s conductive nature, but also because felt’s pun on feeling invokes the emotional resonance of electracy’s image-logic.

Acknowledging and thinking with this resonance, I would argue, makes one less easily seduced by “logical” arguments for violence and other inhumanities that are so easily “rational-ized” by literate rhetoric. This “felt” approach to Plath’s poetry would not only bring us back to “Ariel,” providing a new way to read the significance of the “dark hooks” that are “cast” by “Nigger-eye” berries, but also cast new light on criticisms of Plath’s “histrionic” imagery. In Plath’s case, the Latin etymol-ogy of “histrionic,” evoking acting and the stage, converges with “history,” a narrative of past events, to suggest histrionics as a legitimate genre or inflection of history, a more emotive relation to history, just as a “felt” is a more emotive version of a text.

53. CP, 13. Taking the “box of maniacs” as an unconscious image of a computer’s CPU or central processing unit, we might note Ulmer’s statement in “The Miranda Warnings” that there

is no “central processor” in hyperrhetoric [or electracy], no set of rules, but a distributed memory, a memory triggered by a cue that spreads through the encyclopedia, the library, the database (connectionism suggests that the hardware itself should be designed to support the spread of memory through an associational network). I am learning to write with this remembering, outside my head [another image related to the “box of maniacs”], working a prosthesis, but it doesn’t matter what the hardware is, since I have introjected hypermedia (that is the experiment). (346)

54. CP, 244–47.55. Al Strangeways, “‘The Boot in the Face’: The Problem of the

Holocaust in the Poetry of Sylvia Plath,” Contemporary Literature 37, no. 3 (1996): 385.

56. CP, 257.

7 The Wireless Spaces of Ashbery and Eigner

1. Michel de Certeau, The Practice of Everyday Life, trans. Stephen Rendall (Berkeley: University of California Press, 1984), 197.

2. Certeau, 197.3. Lord Alfred Douglas, “Two Loves,” The Chameleon 1 (1894): 28.4. Qtd. in Andrew Hodges, Alan Turing: The Enigma (New York:

1983), 86.

214 NOTES

5. Robert B. Ray, How a Film Theory Got Lost and Other Mysteries in Cultural Studies (Bloomington: Indiana University Press, 2001), 17.

6. Harold Bloom, “The Charity of Hard Moments,” in John Ashbery, ed. Harold Bloom (New York: Chelsea House, 1985), 52.

7. Mark Ford, Raymond Roussel and the Republic of Dreams (Ithaca, NY: Cornell University Press, 2000), 25.

8. Raymond Roussel, How I Wrote Certain of My Books, trans. Trevor Winkfield (Boston: Exact Change, 1995), 3.

9. Indeed, the state secrecy surrounding Alan Turing’s involvement in the COLOSSUS project to break the German Enigma code ensured that his status as a “war hero” could not be brought to bear in mitigating his “crime” of homosexual acts, acts which the master of encryption/decryption never attempted to keep a secret.

10. Friedrich Kittler, Gramophone, Film, Typewriter, trans. Geoffrey Winthrop-Young and Michael Wutz (Stanford, NJ: Stanford University Press, 1999), 47–49.

11. This enigmatic phrase, written by Alan Turing in the third of a series of four postcards (the last three are extant) to his friend and colleague Robin Gandy under the heading “Messages from the Unseen World,” is actually part of a quatrain concerning, accord-ing to his biographer Andrew Hodges, “the problem of physical prediction.” The reference to hyperboloids (see my discussion of critical hyperbole in chapter 1), however, is “some quite novel geo-metric picture of his own, lost without a trace” (514) or, for our purposes, a code without a referent. Despite the cards’ many allu-sions to contemporary and historical scientific theories (including Arthur Stanley Eddington’s 1929 Science and the Unseen World), what interests us here is the fusion of scientific formulation and poetic form apparently for its own sake, code for code’s sake. Indeed, “translating” the three handwritten postcards in succes-sion, as a paratactic, mathematical/scientific poem, is instructive. The result shows Turing deliberately, it would seem, condensing and even obfuscating scientific ideas for an aesthetic purpose. The transcription here, excluding an inscrutable phrase written sideways in the margin, follows as closely as possible the somewhat irregu-lar (coded?) capitalization and spacing of the cards themselves and forms interesting connections to the “codes” of capitalizing noted in my discussion of the title poem to Ashbery’s volume. Also, sev-eral of the lines can be read in relation to Roussel’s procédé in their suggestive “inversions” of traditional ideas of the universe (or in Roussel’s case, the text) as solely the result of a meaningful code to phrases more suggestive of a universe/text in which codes share continuities with each other that have no starting or end point, mutually leading to one another in “pantomime” or particulate “founts.” The first two lines, “The Universe is the interior / of the Light Cone of the Creation” undoubtedly alludes to the big bang

NOTES 215

theory as Hodge suggests, but as words on paper appears more to embody/encode the counterintuitive notion that what we think of as “external,” the universe, is actually the “formula” itself, the inte-rior. The result is something like the metaphysical equivalent to the permanent disruption of spatial notions when, as mentioned earlier with respect to Derrida, the signifier/signified dyad becomes dis-persed into the borderless appearances and disappearances of the mark or “trace.” At any rate, here is my transcription of the cards:

Messages from the Unseen WorldIII The Universe is the interiorIII The Universe is the interiorof the Light Cone of the CreationIV Science is a DifferentialEquation. Religion is aBoundary Condition ey l n a t S r u h tArVHyperboloids of wondrous LightRolling for aye through Space and TimeHarbour there Waves which somehow MightPlay out God’s holy pantomimeVI Particles are fountsVII Charge = e/Õ arg of character of a 2Õ rotationVIII The Exclusion Principle is laid downpurely for the benefit of the electronsthemselves, who might be coupled (andbecome dragons or demons) if allowed toassociate too freely.

12. Keith Cohen, “Ashbery’s Dismantling of Bourgeois Discourse,” in Beyond Amazement, ed. David Lehman (Ithaca, NY: Cornell University Press, 1980), 133.

13. John Shoptaw, On the Outside Looking Out (Cambridge, MA: Harvard University Press, 1994), 4–6.

14. John Vincent, Queer Lyrics: Difficulty and Closure in American Poetry (New York: Palgrave, 2002), xiii.

216 NOTES

15. Two diverse sources come to mind which present the idea that a code that dares to not speak is inherently political: (1) From Lyn Hejinian’s The Fatalist (which Ashbery praised, interestingly enough, as a “sumptuously [emphasis mine] tallied, tabulated and illuminated” book of “whatever”) we read, “American cultural his-tory / is rife with anti-intellectualism that emphasizes ‘understand-ing’ always” (36); (2) Jacques Derrida’s suggestion in The Beast and the Sovereign: “Basically, radicalizing things, I would say that defi-nition, where it stops in the ‘S is P,’ in the definite article le [the sovereign] or la [the beast], is always bêtise [literally, “beastly,” idi-omatically, “stupid”]. Bêtise is defining as much as defined” (161).

16. John Ashbery, Other Traditions (Cambridge, MA: Harvard University Press, 2000), 5.

17. Other Traditions, 50.18. John Ashbery, The Tennis Court Oath (Hanover, NH: Wesleyan

University Press, 1962), 11 (hereafter cited as TCO).19. Jacques Derrida, The Beast and the Sovereign, trans. Geoffrey

Bennington (Chicago: University of Chicago Press, 2009), 39.20. Robert B. Ray, The Avant-Garde Finds Andy Hardy (Cambridge,

MA: Harvard University Press, 1995), 11.21. Mark Silverberg, “Laughter and Uncertainty: John Ashbery’s Low-

Key Camp,” Contemporary Literature 43, no. 2 (2002): 291.22. Shoptaw, 7.23. Jacques Derrida, “Signature Event Context,” in A Derrida Reader,

ed. Peggy Kamuf (New York: Columbia University Press, 1991), 97.

24. Shoptaw, 7.25. TCO, 13.26. Gilles Deleuze, The Fold: Leibniz and the Baroque, trans. Tom

Conley (Minneapolis: University of Minnesota Press, 1992), 5.27. TCO, 29.28. TCO, 30.29. TCO, 64.30. TCO, 67.31. Ford, 59.32. Other Traditions, 67.33. Aidan Wasley, “The ‘Gay Apprentice’: Ashbery, Auden, and a

Portrait of the Artist as a Young Critic,” Contemporary Literature 43, no. 4 (2002): 671.

34. TCO, 65.35. The lieutenant and his kind, whose name invokes sovereignty, which

is if nothing else the power to make decisions, is also associated with bêtise [stupidity] by Derrida. Decision making in general (particu-larly the ultimate decision, the declaration of the sovereign), which eliminates one possibility by absolutely insisting on the superiority of another, “involves a risk of, or a leaning toward, bêtise” (173).

NOTES 217

36. Wasley, 699.37. TCO, 66–67.38. TCO, 69.39. For one example of the more playful forms this kind of interpreta-

tion might take, see Alan Clinton’s “Raymond Roussel’s Self Help Notes” (Glossator, vol. 1), which purports to be “A Commentary on Bob Perelman’s ‘Chronic Meanings’” but which does nothing to illuminate the poem but simply surrounds and extends it for Clinton’s own purposes. This sort of creative interpretation is called “wreading” by Charles Bernstein, who describes Clinton’s version of wreading as, “Take phrases from the source poem and embed within a narrative of your own construction.”

40. TCO, 70.41. TCO, 73.42. Gilles Deleuze and Félix Guattari, Anti-Oedipus: Capitalism and

Schizophrenia, trans. Robert Hurley, Mark Seem, and Helen R. Lane (New York: Viking, 1977), 326.

43. Anti-Oedipus, 326.44. Anti-Oedipus, 323.45. Larry Eigner, Windows/Walls/Yard/Ways, ed. Robert Grenier

(Santa Rosa, CA: Black Sparrow Press, 1994), 25.46. Gilles Deleuze, The Logic of Sense, trans. Mark Lester (New York:

Columbia University Press, 1990), 267.47. Windows, 40.48. Benjamin Friedlander, “Larry Eigner,” in Dictionary of Literary

Biography, ed. Karen Rood (Detroit, MI: Gale Research, 1998), 116.

49. Robert McRuer, Crip Theory: Cultural Signs of Queerness and Disability (New York: New York University Press, 2006).

50. Lennard J. Davis, Bending Over Backwards: Disability, Dismodernism, and Other Difficult Positions (New York: New York University Press, 2002), 19.

51. Larry Eigner, Areas Lights Heights: Writings 1954–1989, ed. Benjamin Friedlander (New York: Roof Books, 1989), 163.

52. Jacques Derrida, Speech and Phenomena, trans. David B. Allison (Evanston, IL: Northwestern University Press, 1973), 85.

53. Windows, 46.54. J. Hillis Miller, “The Critic as Host,” in Modern Criticism and

Theory, ed. David Lodge (New York: Longman, 1994), 280.55. J. Hillis Miller, “Heart of Darkness Revisited,” in Heart of Darkness:

Case Studies in Contemporary Criticism, ed. Ross C. Murfin (Boston: Bedford Books, 1996), 217.

56. “Heart of Darkness Revisited,” 206.57. In his article “Missing Larry: The Poetics of Disability in the Work

of Larry Eigner,” Sagetrieb 18, no. 1 (1999), Michael Davidson points out how one of the ways in which Eigner imagines this

218 NOTES

“connection” involves the metaphor of the mind as a radio receiving signals “from above,” 16.

58. Windows, 51.59. Windows, 64–65.60. Indeed, the vagueness of the “whatever” as practiced by Eigner,

in combination with his shocking and “unjustified” shifts in scale, simulates poetically Derrida’s attempt to describe an ethics going beyond both Lacan and Levinas, an ethics based on the “dissimilar” to the point of “unrecognizability”:

A principle of ethics or more radically of justice, in the most difficult sense, which I have attempted to oppose to right, to distinguish from right, is perhaps the obligation that engages my responsibility with respect to the most dissimilar, the entirely other, precisely, the monstrously other, the unrecognizable other. The “unrecognizable,” I shall say in a somewhat elliptical way, is the beginning of ethics. . . . So long as there is recognizability and the fellow, ethics is dormant. . . . So long as it remains human, among men, ethics remains dogmatic, narcissis-tic, and not yet thinking. Not even thinking the human that it talks so much about. The “unrecognizable” is the awakening. It is what awakens, the very experience of being awake. The “unrecognizable,” and therefore the non-fellow. (The Beast and the Sovereign 108)

61. We could just as legitimately, at this point, speak of the corporation and its nation-state appendages.

8 Louis Zukofsky and Quantum Criticism (A/One Conclusion)

1. Jacques Derrida, Specters of Marx, trans. Peggy Kamuf (New York: Routledge, 1994), 168.

2. They are resistant to interpretation not only in relation to quantum mechanics but also in terms of the early atomists who, as we saw in chapters 1 and 2, fascinated both Derrida and Marx.

3. Peter Hitchcock, Oscillate Wildly (Minneapolis: University of Minnesota Press, 1999), 168.

4. Karl Marx, The Portable Karl Marx, ed. Eugene Kamenka (New York: Penguin, 1983), 81.

5. Derrida, 58–59.6. Paul Feyerabend, Against Method (London: New Left Books,

1975), 20.7. Feyerabend, 357.8. Sandra Kumamoto Stanley, Louis Zukofsky and the Transformation

of a Modern American Poetics (Berkeley: University of California Press, 1994), 106.

9. Louis Zukofsky, “A” (Berkeley: University of California Press, 1978), 55.

NOTES 219

10. “A,” 55.11. Daniel Tiffany, Toy Medium (Berkeley: University of California

Press, 2000), 263.12. “A,” 61.13. “A,” 62.14. In the 1872 German version which Samuel Moore translated in

1888, the English word quantum was actually Die Summe, meaning “the sum” or “quantity.” While a German synonym for Die Summe was Das Quant, which now, as in the English word quantum, is a term in physics, this is not the term Marx used in the Manifesto. It seems we have the exigencies of Victorian English and the liberties of translator Samuel Moore to thank for the “seed” of Zukofsky’s play on the word “quantum” in his “quantum Marxism.”

15. Roland Barthes, The Rustle of Language, trans. Richard Howard (New York: Hill & Wang, 1986), 278.

16. Slavoj Žižek, The Sublime Object of Ideology (London: Verso, 1989), 32.

17. “A,” 58.18. “A,” 63.19. Eugène-Emmanuel Viollet-Le-Duc, The Foundations of Architecture,

trans. Kenneth D. Whitehead (New York: George Braziller, 1990), 195.

20. Viollet-Le-Duc, 222.21. “A,” 63.22. “A,” 64.23. Karl Marx and Friedrich Engels, The Communist Manifesto, trans.

Samuel Moore (New York: Penguin, 2002), 223.24. Timothy Ferris, Coming of Age in the Milky Way (New York:

Perennial, 2003), 289.25. M. Mikhail Ilin, New Russia’s Primer: The Story of the Five-Year

Plan, trans. George S. Counts and Nucia P. Lodge (New York: Houghton Mifflin, 1931).

26. “A,” 65.27. V. I. Lenin, Collected Works, vol. 13, trans. Bernard Isaacs (Moscow:

Foreign Languages Publishing House, 1972), 450–51.28. V. I. Lenin, Materialism and Empirio-Criticism (Peking: Foreign

Languages Press, 1972), 9–10.29. Robert B. Ray, How a Film Theory Got Lost and Other Mysteries in

Cultural Studies (Bloomington: University of Indiana, 2001), 31.30. Auguste Comte, Introduction to Positive Philosophy, trans. Frederick

Ferre (Indianapolis, IN: Bobbs-Merrill, 1970), 28.31. V. I. Lenin, Collected Works, vol. 13, 454.32. Materialism and Empirio-Criticism, 311.33. “A,” 66.34. “A,” 66.

220 NOTES

35. David Sterrit, ed., Jean-Luc Godard: Interviews (Jackson: University Press of Mississippi, 1998), 13.

36. David Kadlec, “Early Soviet Cinema and American Poetry,” Modernism/modernity 11, no. 2 (2004): 312.

37. Kadlec, 309.38. Thorold Dickinson and Catherine De la Roche, Soviet Cinema

(London: Falcon Press, 1948), 22.39. “A,” 66.40. precinemahistory.net/1870.htm41. “A,” 66.42. Richard Dienst, Still Live in Real Time: Theory after Television

(Durham, NC: Duke University Press, 1994), 141.43. www.nls.uk/broadsides/broadside.cfm/id/14938.44. www.nls.uk/broadsides/broadside.cfm/id/14938.45. “A,” 70.46. http://www.z-site.net/notes-to-a/A-8.php.47. Luke Carson, Consumption and Depression in Gertrude Stein, Louis

Zukofsky, and Ezra Pound (New York: St. Martin’s, 1999), 177.48. James Steven Stallybrass, “Translator’s Preface,” in Teutonic

Mythology (London: George Bell, 1882), v.49. Jacob Grimm, Teutonic Mythology, trans. James Stallybrass (London:

George Bell, 1882), 5.50. Grimm, 7.51. Grimm, 9.52. Grimm, 10.53. Grimm, 10.54. Grimm, 12.55. “A,” 79.56. “A,” 79.57. Sigmund Freud, “Recommendations to Physicians Practicing

Psycho-Analysis,” in The Freud Reader, ed. Peter Gay (New York: Norton, 1989), 357.

58. “A,” 79.59. “A,” 79.60. “A,” 83.61. “Washington Wept Here,” Time Magazine (September 17, 1956).62. “A,” 83.63. “A,” 83.64. “A,” 90.65. “A,” 90.66. “A,” 90.67. “A,” 92.68. Louis Zukofsky, Prepositions (Berkeley: University of California

Press, 1981), 169.69. Prepositions, 170.

NOTES 221

70. Qtd. in Stanley, 45.71. Prepositions, 124.72. “A,” 93.73. “A,” 112.74. “A,” 112.75. “A,” 58.76. “A,” 68.

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Abraham, Nicolas and Maria Torok 30, 92

Adams, Henry 185–186Adorno, Theodor 11, 201n.Agoraphobia 103, 108–110,

115–116Ahearn, Barry 186Alexander, Paul 123Althusser, Louis 7, 168Anderson, Laurie 94Andrews, Bruce 32, 34, 49–55Anzaldua, Gloria 105Ashbery, John 6, 135–152, 214n.,

216n.Auden, W. H. 84, 96–101, 138,

142Automatism 55, 60, 65–66, 84–100,

190n., 206n., 210n., 211n.Avant-Gardism 10, 28, 78, 130,

139–140

Babbage, Charles 23, 120Barthes, Roland 3, 63, 91, 168,

196n.Batailles, Georges 24Baudrillard, Jean 18, 24–25,

42–43, 121, 169, 196n.Benjamin, Walter 1–2, 11–12, 15,

47, 54, 57–63, 66–71, 74–82, 111, 121–122, 168, 189n., 194n., 196n., 199n., 202n.

Bergson, Henri 115Bernstein, Charles 102, 107–108,

217n.Bloom, Harold 137, 139, 150Bogard, William 27

Bonnaffe, Pierre 153Bosch, Hieronymous 182–184Boyer, M. Christine 26Brand, Dana 15Brecht, Bertolt 62, 78, 82,

107–118Breton, André 88–89, 98, 104,

131, 142, 211n.Breughel, Peter 182–184Brown, Bill 44Buckley, C. A. 86, 95, 97Buñuel, Luis 55, 167Burns, Robert 179

Cage, John 76Çambel, A. B. 71Capitalism 3, 7–14, 19–55, 67–69,

76, 81–84, 89, 97, 100–117, 126, 130, 145, 150, 163, 167–172, 178–182, 194n., 196n., 214n.

Castoriadis, Cornelius 12–14Cerebral Palsy 1, 152–153,

156–162Certeau, Michel de 135Chagall, Marc 77–79Chance 6, 20, 65–66, 75, 90, 130Chaos Theory 26, 33, 63–78, 110,

137, 167, 186Choucha, Nadia 103Clairvoyance 6, 30, 102–115Collage 1–4, 11Comte, Auguste 167, 176Creeley, Robert 152Cybernetics 3, 16–18, 23–25, 52,

132, 135, 139, 142, 145, 148–152, 168, 189n.

Index

236 INDEX

Dadaism 3, 10, 46, 121–122Davis, Lennard J. 157Debord, Guy 22–25, 32, 36, 113Deleuze, Gilles 4, 6–7, 12, 25,

27–29, 36, 48–49, 52, 72, 115, 128, 152–155

Derrida, Jacques 3–10, 19, 21, 43, 67, 73–77, 83–84, 87, 90, 119, 124, 130–131, 138, 144, 153, 158, 165, 168, 192n., 203n., 206n., 207n., 215n., 216n., 218n.

Desnos, Robert 103–105Disability Studies 1, 135, 152–164Donaldson, Jeffrey 93Douglas, Lord Alfred 6, 136

Eco, Umberto 28, 31–42Eigner, Larry 1, 6, 135–136,

152–164, 217n., 218n.Electracy 2–3, 6, 8, 11, 22, 55,

105, 109, 117–133, 135, 137, 149, 162, 164, 210n., 213n.

Eliot, Thomas Stearns 23, 111–112Encyclopedic Knowledge 8–12,

16–17, 28, 31–55, 181, 196n., 198n., 213n.

Enlightenment 11, 50, 53–54, 61, 72, 167

Ethics 19, 53, 55, 59, 76, 117–119, 125–132, 135, 159–164, 167, 212n., 218n.

Fascism 60–61, 78, 182, 187Faulkner, William 59Ferris, Timothy 175Fetishism 18–25, 38–43, 47–48,

73, 81, 113–115, 135, 153, 167, 196n., 197n.

Feyerabend, Paul 10, 169, 201n.Forché, Carolyn 6, 57–79, 200n.,

203n.Forster, E.M. 45Foucault, Michel 81, 140, 169Frankfurt School 11, 58, 78, 83, 168Freud, Sigmund 43, 72, 77, 84,

86–87, 90–93, 118, 123, 167, 168, 183, 209n.

Friedlander, Benjamin 156–157Fromm, Erich 119

Gandhi, Mahatma 186–187Genet, Jean 4, 75, 131, 190n.Globalization 8–9, 12, 31, 34, 37,

41, 46, 52–54, 57, 62, 84–86, 108, 117–118, 122, 125–132, 162–164, 166, 189n.

Godard, Jean-Luc 178Gold, Mike 176Gorky, A.M. 175–180Gould, Stephen 10Grimm, Jacob 180–182Guattari, Félix 6–7, 12, 25,

29, 36, 48–49, 52, 72, 115, 152–155

Hardt, Michael and Antonio Negri 169

Harvey, David 11Hassan, Ihab 3Hauntology 10, 30, 82, 85–89,

93–94, 99–101, 157, 160, 184, 207n.

Hayles, Katherine 65–66Heidegger, Martin 8–9, 18, 36Heisenberg, Werner 13, 65,

171–174Hiroshima 63, 133, 200n.Hitchcock, Peter 63–67, 166Hitler, Adolf 45, 66, 187Holocaust, The 45, 60, 72,

127–131Hughes, Ted 126, 132, 210Huizinga, Johan 106Husserl, Edmund 158

Ideology 4, 7, 9, 15, 28, 33, 42, 45, 55, 60–62, 83–86, 99–103, 108–109, 115, 124–125, 133, 135–139, 152, 166–188, 200n.

Intuition 1, 3, 6–18, 28–32, 43, 55, 57, 65, 103, 143, 153, 159, 165–168, 176, 191–192n., 200n. 206n.

INDEX 237

Jakobson, Roman 173, 196n.Jameson, Frederic 8, 24, 35, 45,

47, 130, 169Johnston, Devin 85Joyce, James 31, 77, 112, 141

Kadlec, David 178Kalaidjian, Walter 89Kant, Immanuel 12Kerouac, Jack 107Kittler, Friedrich 79, 118,

122–124, 132, 140, 150–151, 203n., 205n., 209n.

Krauss, Rosalind 3Kristeva, Julia 25, 168Kuhn, Thomas 10

Lacan, Jacques 12–14, 21, 25, 32, 34, 43, 55, 91, 118, 123, 132, 167–168, 218n.

Lamelas, David 45Le Bon, Gustave 6, 16Lefebvre, Henri 15, 21, 25–28, 34,

48–49, 82, 110–111, 115Leibniz, Gottfried 4, 21, 120, 147Leiris, Michel 74Lenin, V.I. 175–180Leonard, Garry 21–25, 112

Mach, Ernst 176Mallarmé, Stéphane 1, 152Marinetti, Franco 22Marx, Karl 6, 11, 19–22, 38, 41,

101, 167–168, 177, 180–182, 186, 196n., 219n.

Marxism 9, 11, 26, 38–40, 51–52, 55, 65, 67, 74, 78, 82–85, 96, 100, 103, 125–126, 130–132, 165–188, 197n., 198n., 219n.

McLuhan, Marshall 3, 124McRuer, Robert 156Mendelson, Edward 31–35, 49Merrill, James 6, 30, 81–101, 103,

105–106, 117, 123, 201n., 206n.Messianism 2, 10, 66–67, 73–75,

79, 165, 168Miller, J. Hillis 2, 159–161

Moses, Kate 127Mumford, Lewis 22

Nadel, Alan 150Nietzsche, Friedrich 21–22, 74

Oulipo 92–93

Parability 1–5, 11, 15, 28–30, 33, 58, 64–65, 73, 76, 79, 81, 120, 135, 142, 152–153, 159–161, 164–166, 169, 173, 187–188

Parables 2, 4, 57, 114, 159–162Peel, Robin 127Perloff, Marjorie 46, 112Photography 1, 15, 22, 39, 55,

58–63, 69, 81, 98, 138, 190n., 199n., 200n., 210n.

Pierce, Charles Sanders 16Plath, Sylvia 6, 117–133, 135, 162,

164, 210n., 211n., 212n., 213n.Ponge, Francis 5, 75, 131Postmodernism 7, 11–21, 27–29,

32–37, 45–49, 81, 101–102, 137, 142, 194n.

Pound, Ezra 46, 100, 158, 166, 188, 200n., 202n., 207n.

Prefi xes 1–3, 159–160Projective Verse 1Psychoanalysis 16, 21, 26, 30, 34,

72–74, 85, 91, 101, 110, 120, 183, 202n., 209n.

Puns 5, 39, 75, 86–91, 96, 119, 128–132, 135–136, 140, 143, 150, 162, 186, 195n.

Pynchon, Thomas 6, 16, 28, 31, 42–49, 194n.

Quantum Poetics 6, 55, 112, 166, 169–188, 197n., 218n., 219n.

Queer Theory 87–88, 96, 135–152, 160

Radnóti, Miklós 70–71Rauch, Alan 9Ray, Robert 10, 32, 138Reich, Wilhelm 168

238 INDEX

Robbe-Grillet, Alain 150Robbins, Bruce 12, 117, 125–129Rorschach, Hermann 6, 73–79Roussel, Raymond 6, 137,

140–143, 150–151, 214n., 217n.Russel, Bertrand 138

Sartre, Jean Paul 74, 196n.Scalapino, Leslie 8Schizophrenia 7, 17, 24–29, 48, 75,

102, 106, 110–111, 115Science 4–6, 10, 16, 25, 31, 35, 38,

41–43, 50–52, 55, 59, 64–65, 68, 71, 74–75, 84, 89, 98, 135–138, 144, 158, 166–170, 176–177, 180, 183, 186–188, 192n., 205n., 214n.

Sedgwick, Eve 136Shoptaw, John 141, 144–145Silent Teachers 1, 6, 13, 115–116,

136, 160, 169Silliman, Ron 6, 103, 107,

115–116, 152Simulation 1, 3–4, 7–8, 29, 32,

36–37, 46–47, 50–52, 79, 81, 111, 119, 136–137, 140–148, 152, 163–164, 169, 174, 178, 196n., 210n., 218n.

Social Space 15–32, 110Spicer, Jack 1Spectrality 7, 15, 20–23, 28–30,

38–39, 81–117, 136, 168, 207n.Stalin, Joseph 184–185Stein, Gertrude 2, 112, 142, 189n.Sublime 12, 54, 100, 117, 125–132Surrealism 3, 11, 62, 73, 88–89,

92, 99, 103, 140, 191n., 206n.Sword, Helen 89, 205n.

Technoculture 7–8, 18, 32, 35Thompson, Hunter S. 94Tiffany, Daniel 172–173Tololyan, Khachig 43, 45Turing, Alan 6, 18, 23, 119,

122, 137–143, 150–151, 214n.

Ulmer, Gregory 6, 8, 11, 22, 91, 117, 119–120, 124–132, 162, 195n., 212n., 213n.

Utopian Thought 2, 10, 33, 36, 48–53, 62, 66–68, 73–75, 81–82, 102, 109, 115, 129, 152, 189n.

Van Gogh, Vincent 182–184Vertov, Dziga 178Vincent, John 139, 142Viollet-le-Duc 173–174Virilio, Paul 27, 151

Wasley, Aiden 150Watkins, Evan 104Watten, Barrett 102Weiner, Hannah 6, 28, 30, 81–83,

101–117, 201n.Wiener, Norbert 3, 23, 119Wilde, Oscar 136, 138, 142Williams, William Carlos 109,

152, 202n.Wittgenstein, Ludwig 76, 112Woolf, Virginia 113–114

Zizek, Slavoj 48, 100, 168, 173

Zukofsky, Louis 6, 55, 165–188, 219n.