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By Maurice Blanchot

Reflections at the enigma and mystery of “literature.”

A Voice from in other places represents one among Maurice Blanchot’s most crucial reflections at the enigma and mystery of “literature.” The essays the following endure down at the necessity and impossibility of witnessing what literature transmits, and—like Beckett and Kafka—on what one could name the “default” of language, the tenuous border that binds writing and silence to one another. as well as issues of René Char, Paul Celan, and Michel Foucault, Blanchot deals a sustained come upon with the poems of Louis-René des Forêts and, all through, a distinct and critical focus on music—on the lyre and the lyric, meter and measure—which poetry particularly brings ahead of us.

“This welcome new quantity, fantastically translated, is a vital addition to our library of Blanchot in English.” — Lydia Davis

“Maurice Blanchot committed himself to what Henry James referred to as ‘the strangeness within the strangeness.’ A Voice from in different places speaks of what's irreducibly unusual in poetry and philosophy in a language of calm simplicity. those ordinarily overdue items through a author and philosopher of the 1st rank are as piercing as they're deeply moving.” — Kevin Hart

“And if the voice from in other places used to be the poet’s voice? it truly is this speculation Blanchot exams ‘with obstinate rigor’ during this booklet. any such language is largely prophetic, yet in simple terms within the experience that ‘[i]t exhibits the longer term, since it doesn't but converse: … discovering its which means and legitimacy simply sooner than itself.’ this can be luminous Blanchot, rendered luminously by way of Charlotte Mandell, his top, such a lot elegantly literate translator.” — Pierre Joris

“Here is a quantity of Maurice Blanchot’s commentaries on poems by way of Louis-René des Forêts, René Char, and Paul Celan, along with his celebrated account of Michel Foucault’s œuvre. In each one case Blanchot reveals himself obsessed via ‘a voice from elsewhere’—a voice that's right away intimate, wordless, and uninhabited: l. a. voix de personne, no-one’s voice. those commentaries, beautifully translated by way of Charlotte Mandell, are themselves constituted through this voice, a natural reverberation that readers of Blanchot’s writings won't have forgotten. they are going to say: so the following he's, if he ever was.” ― Gerald L. Bruns

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39. Patrick’s prize books are in the Bront¨e Parsonage Museum (HAOBP: bb207 and bb208). For examples of the Bront¨es’ drawings copied from Bewick’s A History of British Birds see Alexander and Sellars, The Art of the Bront¨es, passim. ’ The Bront¨e copy of Audubon was 32 The Haworth context 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. 57. 58. item 6 in Sotheby’s 1907 sale catalogue of books and manuscripts belonging to Charlotte’s widower, Arthur Bell Nicholls. , 1905), 125.

1 Ratchford’s description of the juvenilia as ‘a dream world’ where the children ‘found escape from the discipline and restraints of ordinary life’ seems apt when one reads the journal Charlotte kept as a young teacher at Roe Head School. After one particularly tedious day in October 1836, she complained: I am just going to write because I cannot help it. [Branwell] might indeed talk of scribblemania if he were to see me just now, encompassed by [students] . . all wondering why I write with my eyes shut – staring, gaping – hang their astonishment!

24 According to Benjamin Binns, Patrick Bront¨e was ‘passionately fond of oratorio’ and ‘often attended concerts and other meetings of an elevating tendency in the village, taking with him the members of his family’. It was undoubtedly for this reason that he inititated a public subscription in the township to build an organ in his church, personally supporting the campaign with fund-raising sermons. 25 The installation of the organ transformed the possibilities for public performance and Haworth Church thereafter became a popular venue for concerts.

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