t thilleman

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On THERSEYN Sketches:

A Longpoem Project




Dasein takes its place in western thinking  carried over from the colloquial into Hegel’s “term,” a greater sense of Being in general. Later, re-used and turned over, 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 Being out of the colloquial into higher sophistications of god-like as well as former god-like assertions, means that speech—regardless the base vocabulary or cultural inheritance—always contains the breath-seed for this “upward lift.”


The upward movement creates a pressure or demand (to be seen; to want to materialize).


From  pressure, humans have “sketched” the possible scatter of invention, of building, making and usefulness that has marked their advances, their defenses, their "technologies."


I was moved to write a continuation of this term, Dasein, its model for proposed beginnings and endings by a kind of demand from poetry-making itself, from "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, the  weight of the poem and the weight of a demand “carry” Being differently.


What this polarity, this sense of dialectic, carried over into poetry opened a subjective experience at the level of the written line alongside its syntactical awareness.


The goal of "objectivity" was suspended within the poetic line. The experience of the line as a subjective study was meant to be indulged in and sustained.


First Limited Edition of Therseyn

with totemic rubbings

by Sasha Meret

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


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 / negative experience as the topic.


The creation of absence is both technical as well as mysterious, or, anti-technical. It is a suspension in time as well as within the atomization of spatial contiguities.


The canvas of such contiguous forms in the incomplete latter work of William Blake, his The Four Zoas, initiated my own sense of a longer, sustained work.


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 because it does not move solely in one direction.


The allegorical position of paleontology keeps pace with the poem’s own differentiations and measurements of time past and time present.


It is  allegorical more than scientific because the allegorical "beings" stand for the oftentimes imperceptible change from objective fact to subjective fantasy.


The intentionality of time, in other words, presents epochs that have to be traveled to and fro, back and forth, in order to throw light on the dominant image of ourselves in the present.


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



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