A further Note on Sketches
Anatomical Sketches began with an idea elaborated in the final entry within Descent, the most recent collection to present itself in book form. That entry begins:
“no hinge to a body ens creatum” …
“No hinge” on the Ens Creatum. Here Ens Creatum, Be-ing, even one’s personalized sense to that meaning. An infinite line of negative and positive integers representative of creation, with or without a specified integer as its true or most appropriate name.
That no continuation or narrative hooks or facilitates into another interpretation of Be-ing. One is; it is; all is and exists within—as Buddhism asserts—“beginningless time.”
“Sketches,” in that each exists separate from one another even though they are gathered together. Bound, hinged together as in a book, exhibits something of the nature of wanting to keep a thru-line from one sketch to another. The use of allegory, as mentioned in the final sketch of Descent, dissuades the reader from taking them to mean one tangible and taxonomic whole. But that is not what the poem goes on to assert, thus setting up a dichotomy or clash of interests:
“but hinge opens to a multitude of limbs off the centrality of time and space”
Suggesting connection and continuity are inevitable.
Allegory is—while it may suggest its historical usage as a “hidden” means to corresponding values and figurations of the representational—etymologically a “turn” or re-direction of the agora or open public sphere of communicable ideas and associations. In other words, a new representation is suggested or strongly inserted into the means of discourse and there is a world-change by which things sense and perceive anew.
By this then the meaning of the two trees at the very invocation of the work is made clear and separately distinct. One is the “clade” of a human organized “tree,” of categorization most closely allied with evolutionary families, of “descent with modification.”
The other is the tree we see before us as a tree in our garden or park or by the side of the road—or a tract of wilderness.
“this sketching is a place might have continued into the present or ‘next’
discovery of cladistic taxa enjambment
diagram or tree displays lineage organisms
attendant various studies evolve together “tree”
upon which forms live
Now, to connect these changes, as it were, would mean to be constantly holding every possible common meaning under the thumb of a re-writing. Re-composing is a function of poetry, poesis (to make) but what is more a propos is the stability of Be-ing inherently equivocal and ever-present in each new making and molding.
In other words, and as the final poem’s epigram shows, we cannot experience a beginning or source in the immediate any more than we can thru a conversation (Heidegger). So it is that we must, or should, “stay in the beginning”…
What this meant for me as a gatherer and maker of Sketches was that any plan I might have had for the Whole would stay within each Part. Hence the need for calling the extended work “Sketches.” And while each sketch is onto itself complete, they simultaneously re-direct or move toward difference from any of their fellow sketches.
The term here is holarchy—also synecdoche, whose root syn-tact is a part-speech searching for its next or other expression, thus becoming Whole.
In the set-up to the Sketches it will be figured in diaresis, a change of vowel tone denoted with an umlaut, and center at the heart of paleo considerations, early human species development (or stasis and non-development). Ancient, “prehistoric” time-scale would connote within the poems an acknowledged by vowel sounds and their changes and voiced fluctuations.
A buildup of the language of the Sketches therefore inherently stays within the beginning of the beginning. A first and forever assertion as pretty much the largest scale we can assert with this or any language.
And yet time as figuration or anthropocentric set-up can never be more that the assertion of the present (person or persona, flesh or ghostly representative). So in scaling the poems or sketches into an ultimatum of time, of duration, of longevity and endlessness—the result would be we can only sketch, or rough out a terrain.
The entire longpoem project thus presents itself as a sketch of that ultimatum, those urgent senses within and without their historical “hinges”—vacant vacuous or plenary full with reason. Each issues in and out of itself as an omni-interchangeable sketch searching for its next.