spuytenduyvil

The Author shows, through the sectional and serial and a-periodic poetry of Three Sea Monsters—as well as his conjuration of history in the succeeding notes—modernist themes provide the source-ground for our present disengaged appearance. Into this fissure all acts, real or imagined, have fallen.

 

Just as Duncan follows 'the soul's journey in an evolution from the shell fish ... to the woman with her child, her Christ-child' in The H.D. Book, so too does Thilleman discover a 'morphological' way to link the image of Jellyfish with 'a continuity of spirit in the universe'. Here, 'in the mirror of the water,' Thilleman feels 'the anatomies of these creatures real or imagined, phantastical or dumb and brutish ... are providing sustenance for the broken and starving human.'

      Kenneth Warren in House Organ

 

“One aspect of the monster concept,” observes Stephen T. Asma in his book On Monsters: An Unnatural History Of Our Worst Fears, “seems to be the breakdown of intelligibility. An action or a thing is monstrous when it can’t be processed by our rationality, and also when we cannot readily relate to the emotional range involved.”

      John Olson at Tillalala Blogspot

 

And, by the way, congratulations on your encyclopedic volume of work. It amounts to a graduate degree on Modernist and Post M. aesthetics and culture. And also Kierkegaard and others I could name would approve of your archaeology of language. You are mining way down in the matter.

      Gordon Osing