Canadian poet, essayist, and academic (born 1950)
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Novels institutionalize the ruse of eros. It becomes a narrative texture of sustained incongruence, emotional and cognitive. It permits the reader to stand in triangular relation to the characters in the story and reach into the text after the objects of their desire, sharing their longing but also detached from it, seeing their view of reality but also its mistakenness. It is almost like being in love.
When they made love
Geryon liked to touch in slow succession each of the bones of Herakles' back
as it arched away from him into who knows what dark dream of its own, running both hands all the way down
from the base of the neck
to the end of the spine which he can cause to shiver like a root in the rain.
A thinking mind is not swallowed up by what it comes to know. It reaches out to grasp something related to itself and to its present knowledge (and so knowable in some degree) but also separate from itself and from its present knowledge (not identical with these). In any act of thinking, the mind must reach across this space between known and unknown, linking one to the other but also keeping visible to difference. It is an erotic space.
CHORUS: Helen! wild mad Helen
you murdered so many beneath Troy.
Now you’ve crowned yourself one final perfect time,
a crown of blood that will not wash away.
Strife walks with you everywhere you go.
KLYTAIMESTRA: Oh, stop whining.
And why get angry at Helen?
As if she singlehandedly destroyed those multitudes of men.
As if she all alone made this wound in us
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