if the real is a flat plane, poetry is a wound. if one were to hold a tight sheet of paper, poetry would puncture it as a blade in flesh. it tears through the crust of being and articulates it. a sheet of paper can only assert itself as itself when it has been stabbed by a sharp, cutting negativity. the indeterminate flatline horizon is torn open in the poietic event. it is torn up by
METAPHOR
METONYMY
ELIPSIS
PLEONASM
HYPERBATON
SYLLEPSIS
APPOSITION
CATACHRESIS
AUTONOMASIS
we arrive at this absolute conclusion upon viewing masson’s automatic drawings. the automatic event is the moment of poetry. the negativity of the wound is simultaneously a positive result ex nihilo. it is the passage of nothing into something.
habitual memories…pass into the realm of the subconscious, and from time to time, as they are awakened by some suggestive stimulus from the normal or attentive consciousness, they spring into activity and induce to repetitive action.1
the automatic subject—the enunciating subject—of the pen, of the gun, or of the corpse can only come into itself in a universalizing, totalizing event. in a flash. it must appear, but it dissipates as soon as it is noticed. the subject can only make a claim to being—can only appear—if it does not think. if it does not think itself. neither the automatic event nor the subject thereof can be named without excess. it must be signified if it is to communicate with other signifiers, but it is that signifier that kills it. thus, the truly automatic subject refuses not only the real, but the symbolic. it cannot be thought before it comes onto the scene, and it cannot be conceptualized afterward. all one is left with is the fact that their object of creation was, indeed, created. “how?” is off the table.
the truth of poetry is death-in-life. the poet’s death drive is not a drive to live death. it seeks no transcendent salvation in its finality. the apotheosis of the poet is recurrent, and does recur, through the automatic event.
WE ARE PROPHETS. WE ARE MYSTICS. WE ARE MONKS.
the automatic event, while a retreat into the motor skills of the subconscious, can only access a restricted subconscious, for the unconscious as such is momentarily escaped. thus, the restricted subconscious can be viewed as one liberated from symbolization. the repetitive motor function is allowed to accelerate without limit. the subject is no longer barred. this is the premise of the sacred’s dissolution into the profane and vice versa. as the sacred act of poiesis is increasingly repeated, so is mimetic violence, and the latter outpaces the former.
the mixing of two drops of blood.
poiesis—ontic automatism—is schizophrenization. it cuts through the real, giving way to the neurotic symbolic, but it simultaneously cuts through the symbolic insofar as the real is retroactively overcoded as a moment of the symbolic. the telos of the symbolic is to terminate its point of origin. the neurotic progeny of schizophrenia attempts to sequester the schizo. it attempts to separate my blood from yours. this is the clinical.
the clinical is forever outpaced by schizophrenic disorder. the clinical crucifies the symbolic. the clinical attacks the traces left by schizophrenia—a schizophrenia that has already escaped. to write poetry is to write scripture. the most horrible fate is to die before being canonized. to die as anything other than a saint is to die wretchedly.
ezekiel and i have both seen god in his terrible beauty. to see the merkavah is to become immanent in the kingdom of the world. in the kingdom of the word.
in the beginning was the word, but it is finally time for our word.
the holy breathes, but we are the holy.
we scream into heaven and welcome nothing but echoes.
anonymous [scrutator], “automatic drawing”.