Scholarlink

In a 1995 interview with Lynn Keller, the poet Susan Howe spoke about her relationship with the white page: “In poetry I am concerned with the space of the page apart from the words on it. I would say that the most beautiful thing of all is a page before the word interrupts it.” A key trait of Howe’s poetics is how the blank space appears separately or “apart from” the writing which would otherwise cover, erase, overshadow, or speak for it. Howe’s unmarked space even seems to speak for itself as “the most beautiful.” Having privileged the visual aspects of that space throughout her work, Howe is quick to elaborate within the contexts of contemporary American painting and aesthetics.

错误：搜索内容不能为空，请输入英文关键词
错误：关键词超出字数限制，请精简
高级检索

Parts Playing out of the Abyss: Transitioning from Derrida with Damisch and Rancière

  • 章节

  • 发表日期：

    2026年

查看全文
  • Joseph Shafer

摘要

In a 1995 interview with Lynn Keller, the poet Susan Howe spoke about her relationship with the white page: “In poetry I am concerned with the space of the page apart from the words on it. I would say that the most beautiful thing of all is a page before the word interrupts it.” A key trait of Howe’s poetics is how the blank space appears separately or “apart from” the writing which would otherwise cover, erase, overshadow, or speak for it. Howe’s unmarked space even seems to speak for itself as “the most beautiful.” Having privileged the visual aspects of that space throughout her work, Howe is quick to elaborate within the contexts of contemporary American painting and aesthetics.