the second part of Leiden, Universiteitsbibliotheek Vossianus Lat.
Blau DuPlessis' own voice skirts the space between the critical and the poetic, which is why it hinges on a reevaluation of such seemingly neutral signifiers as the pronoun "it" or the preposition "of.New light is shed on the song culture of Sankt Gallen almost a century before its earliest notated sources through consideration of the poetic section of a manuscript copied at the Abbey shortly after the year 800, i.e. As words are bereft of directionality and their paronomastic virtualities unfold, a textual space opens up where their "whirlwind" of poetic potentialities may "roar." Blau DuPlessis' project thus involves revisiting a number of intertextual as well as intermedial sites, entering into ironic dialogues with other poets, but also tracing the destiny of the gaze in order to restore the tension between the figural and the literal that is temporarily silenced by Duchamp's work, thus allowing for the first person voice to be partially reclaimed. The volume's telos is to explore modalities of telling the loss of a unitary voice by confronting the reader with the demands of multifold.
In Drafts 1-38, Toll Rachel Blau DuPlessis undertakes the task of mourning the I of post-romantic lyrical utterance to the benefit of an aesthetics of the fold which might afford the poet an escape from the gendered dichotomies that have shaped her heritage.
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