[...]ing (='lgc'>=/= to program ="trms">language ='lgc'>: reducing ="trms">language to a debasing perceptual shorthand)
="prgrph">-proposing ‘it is’ by placing another beside it, cultivating op="trms">position and tension


“something understood” ='lgc'>='lgc'>--> left open, undefined, ...


(="frds scrmbld">Elen's “je suis” ='lgc'>[Ich bin='lgc'>] in her images and...)


="large lg2" stl="font-size:110%"> (with the help of ="frds scrmbld">Janina, we are) madly in ="trms">love with the surface of the ="trms">world

='at'>@="frds scrmbld">Marialena; trans="trms">membering power of the sea, nautical daryayi دريايي، مربوط به دریانوردی، ملوانی



saying what ‘you’ see ='and'>& saying why you ‘see’

the more accurate and sensory the apparent evocation of things, the more we have the sense of someone there doing the looking (='lgc'><='lgc'>-- USA ="trms">spectacle knows this)


X in Y's ="trms">translation


“a fish never makes an ="trms">aesthetic mistake” ='lgc'>='lgc'>--> it sends us hurrying to every visual image of fish we can think of, to see if it could be true='strcls'>*

(a good) description='lgc'>: an evocation of the sensory ="trms">world also sug="trms">gests the limitations of such evoking, maintaining a ="trms">sort of open space
in which meaning isn't closed or completed, but remains instead generative

="large lg1" stl="font-size:118%">
a title sometimes does the useful work of placing us ="trms">specifically, so that the body of the ="trms">poem can turn its attention to the heart of the ="trms">matter

(it is surprising how strongly the) naming of particulars ='lgc'>==(bring color into)='lgc'>='lgc'>==> ="trms">poem's (or text's) perceptual web


distortion's power to sug="trms">gest but not define linkage
="lsts lst1">•the use of ‘like’ ='lgc'>='lgc'>--> would draw a firm line between the two elements
="lsts lst1">•not using ‘like’ ='lgc'>='lgc'>--> no firm ="trms">gesture of equivalence ='lgc'>='lgc'>==> we confront a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor that is far more alive in its as="trms">sociations, far more ambiguous, and more crucial ='lgc'>='lgc'>--> both an evocation of alienation and a recognition of ="trms">communality ='lgc'>--tonally='lgc'>='lgc'>--> ="trms">composed of ='strcls'>*equal portions of sorrow and ="trms">wonder='strcls'>* ='lgc'>='lgc'>--> forcing us ='strcls'>*to remain in the ="trms">position of ="trms">interpreter='strcls'>* of something that is perpetually open ='lgc'>=/= direct statement


Blake (and ="ppl">Attar='qstn'>?) wouldn't be the great ="trms">poet he is if he could allow his bloom to be entirely ="trms">symbol
='lgc'>='lgc'>--> a bloom attached to the speaker, a ="trms">memeber of Lord Death's troops, an assistant to the disruptive powers of the night
='lgc'>=/= transcendence

crucible بوته اهنگرى, this nere-archaic word with its connotations of flame and molten ="trms"nttrm="metaph,metamorph,metabol,metal">metal, magical heat and transformation


sunflower='lgc'>: the cry of the determined survivor='strcls'>**

(="trms">differently depicted) sunflower gain power from resisting the flower's conventional as="trms">sociations

the ="trms">poetic ='lgc'>=/= reinscribing the al="trms"nttrm="already,spread">ready known

“it would be like hearing the grass grow and the squirrel's heart beat, and we should die of that roar which lies on the other side of silence.” (George Eliot > ="ppl">Doty) ='heart'>♥



description='lgc'> = giving us the ="trms">world ='lgc'>+ the inner life of the witness

evoking texture of experience ='lgc'>='lgc'>--> beauty='lgc'> = accuracy

“whatever ‘what is’ is is what i want.” tosif توصیف
(Galway Kinnel)


“the deeds and sufferings of light.” -="ppl">Goethe ='at'>@="frds scrmbld">Foad

into the ="trms"nttrm="already,spread">reader's ="trms">internal eye

="frds scrmbld">Foad's paintings='lgc'>: ...two textures have now been added to the color, and in “rough” there is even a sug="trms">gestion of place='lgc'>--it doesn't sound domestic, or ="trms"nttrm="disturban">urban='lgc'>--and of age


(coming close to an) impossible, longed-for accomplishment


the art of description='lgc'> = ='strcls'>*the art of perception='strcls'>* ='lgc'>}='lgc'>='lgc'>--> what do you require to say what you see='qstn'>?

to be better at description, we have to work at attentiveness

='at'>#training / do c="trms">ontour drawing just with your eyes


your ="trms">erotic inflects and charges is your way of ="trms">interacting with the ="trms">world
...you basically just make ="trms">love to the whole ="trms">world
...and all the ="trms">stories you tell yourself about your encounter with the cake


='lgc'>[='strcls'>*='lgc'>]economy ='lgc'>=/= it is too much, ="trms">excess
no one would want Proust to have less to say
fulsome discourse works only when perception itself is the subject ='lgc'>='lgc'>--> Proust's novel is a huge inquiry into the ="trms">nature of consciousness ='lgc'>: a magnificently nuanced evocation of what it is to see and sense ='lgc'>='lgc'>--> which is usually ='strcls'>*too much='strcls'>*


here is one of those ="trms">stories everyone swears is true,...


(an appetizer called) “smoked ="trms">language”

the absolute centrality of ="trms">figurative speech

(Susan Morrow='lgc'>:) how the scuttle of crab claws on sand influenced the hieroglyph for “="trms">writing”

we breathe ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, swim in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor, traffic in ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor

="large lg3" stl="font-size:110%"> (becoming ="trms">poet='lgc'> = becoming the) handler of the ="trms">figurative speech ='lgc'>: employing ="trms">language's tendency to connect like and disparate things to the richest possible effects
(in talk='lgc'>:) ="trms">figurative is at its most sophisticated='lgc'>: con="trms">densed, alive with meaning, pointing in multiple directions at once
(Hollywood's ways) to make meaning seem more attractive ='lgc'>=/= ="trms">figurative speech itself means, and ='strcls'>*means intensely='strcls'>*

baznegari-e sanaye adabi (بازنگری صنایع ادبی‌)='lgc'>:
="lstsrd">1. to say ='strcls'>*what we see='strcls'>*='lgc'> = to speak ="trms">figuratively (first project of simile tashbih تشبیه and ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor esteare استعاره is to describe, to say what something's like ='lgc'>~~='qstn'>?='lgc'>='lgc'>--> ="trms">measurement, we can't do so without comparison='lgc'>[='qstn'>?='lgc'>])
="lstsrd">2. figures work together ='lgc'>==(to form)='lgc'>='lgc'>==> ='strcls'>*="trms">networks of sense='strcls'>* (enjoying a ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric game, modes of appreciation)
="lstsrd">3. ="trms">figuration='lgc'> = a form of ='strcls'>*self-portraiture='strcls'>* (intense involvement in rich, descriptive speech ='lgc'>='lgc'>==> perceptual sig="trms">nature ='lgc'>: a destillation/con="trms">densation of the way one person knows herself/himself in time and in place)
="lstsrd">4. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor ='lgc'>==introduces='lgc'>='lgc'>==> ='strcls'>*tension='strcls'>* and ='strcls'>*polarity='strcls'>* to ="trms">language (="trms">figurative ='lgc'>='lgc'>==> enexpected ="trms">language into text, shifting the elements of ="trms">vocabulary)
="lstsrd">5. ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor's distancing aspect ='lgc'>==(allows)='lgc'>='lgc'>==> (us) to speak more freely (to explore a heated, charged experience, “I need more ="trms">veil” ='heart'>♥, a delight in a thin disuise; the way a good ="trms">veil works ='lgc'>[="trms">according to ="ppl">Doty='lgc'>]='lgc'>: you can see the ="trms">veil itself, if you choose to. but if you want to, or you know how, you can ="trms"nttrm="already,spread">read what lies beneath)
="lstsrd">6. ='strcls'>***="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = an act of inquiry='strcls'>*** ='lgc'>=/= an expression of what we al="trms"nttrm="already,spread">ready know (“i can't prove this ='lgc'>[...='lgc'>] but i can feel the power of the result.” unmistakable quality of discovery ='lgc'>[of ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphoric figures='lgc'>]='lgc'>: the ="trms">sort of energy generated when an idea ='lgc'>[and a concomitant set of emotions='lgc'>] un="trms">folds before the ="trms">write ='lgc'>[='lgc'><='lgc'>-- ="frds scrmbld">Sven is missing this='qstn'>?='lgc'>]. in this way='lgc'>: ="trms">="trms"nttrm="metaph,metamorph,metabol,metal">metaphor='lgc'> = (a kind of) ='strcls'>*argument='strcls'>*= a “thinking through” of what is implied, ='lgc'>[oh i have made something='lgc'>] complicated='lgc'> = full of feeling and tension, ='at'>#="trms">excess; investigation of ="trms">erotic energy, thrilling sonic structures you build,,,)


to become a ="trms">rhetorical ="trms"nttrm="already,spread">reader of our ='strcls'>*="trms">gesture drawing='strcls'>*
moments of rebelion, when you have just enough of the strictures of the ="trms">composed still life the teacher had assigned, you whip out...

="large lg4" stl="font-size:111%">
description is fueled by ='strcls'>***hunger for the ="trms">world='strcls'>***, the need to taste, to name, to claim what is seen, to bring it ='lgc'>='lgc'>--> the resurrection of the ="trms">world within the perceiver
='strcls'>*it is very often true that what we are compelled to describe is terrible, or oppressive, or heartbreaking. ="trms">language is hungry for that, too ='lgc'>[...='lgc'>] to eat everything. even the falling and fading ="trms">world, even misery='strcls'>* (="ppl">Doty)
="prgrph">-they speak to our hunger for a ="trms">vocabulary for the whole range of feeling, even the awful parts (='lgc'>='lgc'>--> destruction of speech is d="trms"nttrm="danger,stranger">angerous, having no ="trms">language for what we do good or bad)

desctiption is made both more moving and more exact when it is acknowl="trms"nttrm="knowledge,Knowledge">edged that is is inevitably incomplete


(in the strictest sense) one could say that nothing unintelligible is a meaning ='lgc'>=/= ='strcls'>*there is always meaning='strcls'>*
="prgrph">-the perception of meaning ='lgc'>[such as goose sound='lgc'>] that cannot be ="trms">translated into any other form of speech ='lgc'>='lgc'>--> chasm barzakh between the incomprehensible and the making of meaning ='lgc'>='lgc'>--> (how='qstn'>?) to build a construct of ="trms">language that acknowl="trms"nttrm="knowledge,Knowledge">edges the “meanings” that live outside of words (a ‘description’ that builds an argument about the ="trms">nature of real) ='lgc'>[='lgc'>='lgc'>--> ="nms">ajayeb's concern; part of a function of the humility of the speaker='lgc'>]
(='lgc'>[="nms">ajayeb is full of='qstn'>?='lgc'>] similes that produce) juxta="trms">position of the ="trms">natural and the artificial, ='lgc'>[the vegetal and the made, the tiny and the immense='lgc'>] ='lgc'>: (unexpected) collision of elements (in the framing field of thinking) ='lgc'>==means='lgc'>='lgc'>==> to bring energy into ="trms">language ='lgc'>[='lgc'>='lgc'>--> ='at'>#adjacencies='lgc'>: bringing things, objects, ="trms">stories, arguments next to each other ='lgc'>='lgc'>--> ="trms">interrupting ="trms">stories with ="trms">stories='lgc'>]

="large lg5" stl="font-size:111%">
ritual of flirtation[...]