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On THERSEYN Sketches:

A Longpoem Project

 

 

 

Dasein takes its place in western thinking by being carried from the colloquial into Hegel’s “term,” a greater sense of Being in general. Later, it was re-used and turned, over and over, within the work of Martin Heidegger. So, it is a German term for “existence”.

 

To present Being, with a capital B, as the backdrop to thinking, thought and the sophistry of any human age.

 

The “diaresis,” the inflection, the lifting of it out of the colloquial and into higher sophistications of god-like and former god-like assertions means that speech—regardless the base vocabulary or cultural inheritance—contains the seed for this “lifting upward.”

First Limited Edition of Therseyn

with totemic rubbings

by Sasha Meret

The upward movement creates a pressure or demand (to be seen). From the pressure, humans have “sketched” the possible scatter of invention, of building, making and usefulness that has marked their advances—or their defenses.

 

I was moved to write a continuation of this term, Dasein, its model for proposed beginnings and endings by means of poetry-making or "artful speech."

 

The moment of composition was a direct reflex to my reading of Daimon Life, a book on the study of Heidegger by David Farrell Krell.

The Sketches attached, first and foremost, to Heidegger’s Hölderlin. As Reader and Writer, two polarities of meaning and measure “carry” Being differently.

 

Heady stuff!

 

What this polarity allowed was an opening of subjective experience at the level of the written line and its syntactical awareness. The goal of "objectivity" was suspended in the poetic line. The experience of the line as a subjective study was meant to be indulged.

 

This lyric impulse allowed a follow-through unchecked—whether initiated from the perspective of the writer (me) or the reader (you/me).

 

In other words, just as Heidegger’s philosophy proposed a ground (or lack thereof) for Western philosophy, so my own longpoem would propose the shared “mind” of reader/writer as assertion and its own self-questioning—positive and negative experience as the topic (or absence of topic).

 

The creation of absence is both technical as well as mysterious, or, anti-technical. It is a suspension.

 

The canvas upon which the writing could continue was experienced in the incomplete latter work of William Blake, his The Four Zoas. Anyone familiar with that poem knows the difficulty in following its various original terms, say “Urthona”, or “Urizen”, and their varieties of belief and disbelief in the course of the narrative.

 

The context for the new name as well as its derivation are suspended in the growth of the poem—from strangeness into familiarity. In a sense, this is what time itself is.

 

The effort was to not be so beholden to local or universal ideas or insights, but to travel instead along the ever-widening perception of my very own personal, subjectified experience, regardless of any obligation to objectify that experience.

 

This “naïveté” is buttressed by “evolutionary theory” along the life of the poem as it grows, as it sketches the various scenarios and narratives and speculations or insights.

 

The allegorical position of paleontology keeps pace with the poem’s own differentiations and measurements of time past and time present. It is the allegorical "beings" of the poem that stand for the oftentimes imperceptible changes between objective fact and subjective fantasy.

 

In the language of the poem: the Paleo-far and Meso-Near.

 

In basis of theory, they are both true.

 

In basis of so-called fact … it depends upon your point of view.

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