By Michael Bishop
Desk OF CONTENTS Foreword bankruptcy 1: From sizzling canine and Bananas to Deterioration and Alteration: shape, thought, Being bankruptcy 2: Joaquin's Love Affair bankruptcy three: The Cryptic and the required, Deambulation and Sticks bankruptcy four: From Coffins to Italiana and Riggings, store Curtains and Narwa bankruptcy five: Accompanying the opposite: From Chardin, Goya and Caillebotte to Bonnard, Crane and Roud bankruptcy 6: Falling and Flowing bankruptcy 7: The Self observed: From Robbe-Grillet, Rossi and Roche to Comm??re, Bancquart and Bonnefoy bankruptcy eight: Excavation and Forgetting, Embankment and Abyss bankruptcy nine: From Shadows, Interiors and Seasons to Cairns, Forests and Nielli bankruptcy 10: Questions of Presence and Manners of Darkness bankruptcy eleven: Leafings, Jungles and Herbarium bankruptcy 12: at the present time chosen Bibliography
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Additional resources for The Endless Theory of Days: The Art and Poetry of Gerard Titus-Carmel (Chiasma 22)
8), but I should suggest further that the ontos, the story of the being of self and other pursued, “recounted” and “incarnated” here, as elsewhere, lies not in any single or collected form, but rather in this non-situatable “unspace” of being / non-being that is the energy of the pursuit itself. 9 En vrac (Monaco: Edns du Rocher, 1956, 190-91) where Reverdy argues the endless circularity of the creative gesture: zero → creation → zero (of recommencement) → (further) creation → zero, and so on.
In a nutshell, what Titus-Carmel fancies here is, beyond the scraping and planing of the apartment floor, the planing and potential refinishing of (the) painting itself. Caillebotte’s work thus becomes the self-reflexive space of (a) painting, the act of painting, ready to be begun again. No doubt endlessly. ). Alert as he is to the formal echoes Caillebotte’s work develops within its aestheticised structure – the shavings the men produce and the curlicues of the iron window railing –, Titus-Carmel’s mind remains finally absorbed by the whimsical – but sharply felt – thought of the artist’s scraping and hollowing through to “the other side of painting” (QIM, 35): the other 44 The Endless Theory of Days: The Art and Poetry of Gérard Titus-Carmel side of all doing and being.
It remains, nevertheless, that this transparency – at once restraint and virtuality – is “the act and the place”, as Bonnefoy might write, the process and the product, of a tense and terse beauty which, in and of itself, constitutes meaning. The gravity, the serenity, the extreme simplicity of Schwitter’s piece Titus-Carmel sees as the work of a mature artist, and mind. Produced at the very limit of aesthetic – and, 12 For an analysis of Instance de l’orée see my essay in the Irish Journal of French Studies, 2003.