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Simon Taylor

Simon Taylor

https://orcid.org/0009-0008-6687-4647

sodomy and the stone

Part way through Economy of the Unlost, Anne Carson imagines a Greek flaneur rusticating in the fifth century B.C. who stops to read an epitaph carved in stone, a “talking stone.” Since lapidary inscriptions of the period generally left no spaces between words, the passerby, both for the practical

sema

dramatis personae for an island narrative: pornography of the human condition 1

Who would they be these characters asked for in the post below, an island narrative, if not exactly those projections who are not projections of ourselves? as Robert David MacDonald has Diaghilev say in Chinchilla, Seen as they should be seen, under arc-lamps; objects of a desire they master out

the sufficient exercise of the clearing

There is too much self in my writing. Do you know the term Lukacs uses to describe aesthetic structure? Eine fensterlose Monade. I do not want to be a windowless monad – my training and trainers opposed subjectivity strongly, I have struggled since the beginning to drive my thought out into

die tausend Finsternisse todbringender Rede

There is the conversation I can’t have This is the conversation I can’t have I live the conversation I can’t have ~

an island narrative

The horizon of what is known extends far out beyond what is seen. But there is still doubt about whether either has any bearing on what is. Lawrence Durrell writes, We all seek rational reasons for believing in the irrational. This statement comes as a note, an excerpt from the

theatres of shadow

Yes, the flow of sense is a theatre of shadows, but this does not mean that we should neglect it and focus on “real struggle” – in a way, this very theatre of shadows is the crucial site of the struggle; everything is ultimately decided here. – Slavoj Zizek (in Organs without Bodies, p. 31)