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where appropriation (of meaning) is de-appropriated in the name of an echoplurality that is always-already unappropriable threshold for a modality of
truth (45). In a substantial passage from the third chapter, Dorfsman writes:
the revolution, perhaps the most authentic because it set up a
confrontation with the interior nothingness of being, only managed to
produce a new mask, an institutional mask, the PRI, whose transfigurations
and unmasking continue to this day. The chain of identities, Spanish, Indian,
Mestizo, Catholic, liberaletc, can all be inherited and disavowed, they are
all interchangeable and all empty (47-48).
The poematic in Paz is in the order of the profane, although not
because it dwells in the radical historicity of the singular seeking to
represent or donate the real world with measured political action, but
because it has no desire in instantiating a historical event (or a new politics).
The profanity of the mask vis--vis the logic of similitude is a space of
potential use that trans-figures the other for becoming. It is a style that is
both singular and disjointed. In Dorfsmans propositional hermeneutics, Pazs
discussion of identity is only preparatory for a de-identification of the beingplural that destitutes every politics of location, and in fact, all politics of
being within history.
Pazian culturalism is dissolved not only in similitude / simulation, but
also in the poetic temporality of language. Here, similitude coincides with the
event of language itself, making the poetic the very singularity of
profanation. In Piedra de sol, Dorfsman reads the verse unnime presencia
en oleaje in light of Heideggers poetological exegesis of Parmenides poem
and the poetic universe of Georg Trakl (94-96). But Dorfsman goes further,
since for him the Pazian poematic bear witness to the rhythm of singular life
(I would also argue of the immanent cause, although this is not explicitly in
the analysis) where the way of language builds its own path or camino.
Hence, it is no longer a subject that enacts or wills, but the time of being
which against the order of signification, stems from the stasis of language
(en el seno del lenguaje hay una guerra civil sin cuartel) (97). Crossing
tracks with Heidegger and Trakl, Dorfsmans disobeys the exegetical
command of the Pazian archive, only to re-direct it to the spiral of errancy of
language. This is the proper region of the poetic temporality or the silence or
the simulation in the poem.
The temporality of the poem becomes for Dorfsman the possibility of
speaking in language, in the tongue of the other. This is why the end of
Heterogeneity of Being should be read as poetic desistence, as the call for a
practical exodus from every determination of the poetic arrival in meaning or
History for a peal of language [102]. The poem, in its exigent silence and
means of desistance, opens in this way to thought:
Notes