Gregory Vincent St. Thomasino




logoclastics / the poem is / as a matter [matter] of interlocking, or, rather,
interlocuting (loqui, to speak, inter, between), syntactical elements. A syntactical
element “is equal to” a single word, a clause, a sentence, a suspension. . . . (How
much thought [matter / what is the matter?] is represented by a suspension! How
much grammatical function is represented by a suspension (a suspension is at once
a break, and a connection, a nexus for
the radiance that is logos — and thereby,

poetry as discourse / the poem as revealer.
communication, a passage from the creative intuition [of the poet] to the receptive
intuition [of the reader [a reading] / this requires a sort of previous, tentative
consent — to the poem and to the intentions of the poet—without which we
cannot be taken into the confidence of the poem].

Thomas Aquinas’ “id quod visum placet,” or, [the beautiful is] that which, being
seen, pleases. [the body — the bloc? — of words / text]

proportion (consonance) / ratio [e / ratio — postmodern “proportion”?]
radiance / clarity [causes intelligence to see] [logos / in itself]

if the poets cannot act authentically in the way of logos . . . who, then? Who,

The Latin, vates, was both a poet and a diviner, a bard and a seer.

* * *

the mind knows the word in the figure of its substance.
the mind knows the word in the figure of its substance.
the mind knows the word in the figure of its substance.
the mind knows the word in the figure of its substance.
the mind knows the word in the figure of its substance.

or, what is a crash course in eidetic poetry.

* * *

as mental interlocation / logical space
collocation / a speaking together [a choros]
interlocution / interlocation / topology (topology: this is time,
the simultaneity / knowing present, to past, present and past knowing / how
memory (by definition of the past) exists concurrently!).

In this interlocking / interlocution (inter / ruption, dis / location) we discern the
discourse, the logos.

* * *

A reference to topology (which is the study of surface, or location, or situation,
but never, however, of place), and indeed to Jacques Lacan’s non-seminar, “Time
and Topology.” My “space” is the space of topology (which is used by Lacan as a
metaphor for the mind: is this a more sophisticated “logical space”?). Space is
nothing but a want of intervening points. The space / time of topology begins
when we position a point on a surface, or find a location. (Only once a point is
positioned does any sort of “time” come to mean anything, and this time spreads
with space, it is contiguous with it and cannot exist without it.) Now consider the
“point” to be a proposition. It is a unit of logic, or discourse, or knowledge.

Lacan calls these units of knowledge, or learning, “mathemes.”

* * *

The logos, what was up to this time hidden (in poetry, in discourse)!

The Latin, vates, was both a poet and a diviner, a bard and a seer.


“The break in discourse.”

to lay open / to make a disclosure of / to break the news
to come into being / a beginning to appear / to dawn (it dawns upon me, it occurs
to me) / the break of day
to come into evidence


no wonder we say “seeing is believing.” this is the “eye-evidentiary.”

to break out
the suspension / suspension points.


not to be construed as the absence of intentionality.

ratio —
(to think it, the inward thought, the name of it)
o-ratio —
(to speak it, the flatus vocis)
e-ratio —
(to show it, to write it, to make it visible:
the complemental pointing finger!)

it / eratio / n

iteration as a strategy: the frequentative: anaphora in oratory (oratio, to speak)

a nonappearance.

Habits are transparent.
Logoclasody is everywhere. . . .



narratives (bits and pieces of narrative) removed from their original context and
placed into a new context take on new meanings (while retaining something of
their original intention). Narrative — the word / logos — is everywhere. The
world is a narrative. The world “writ large.” Pan-narrativity.

The “pannarrative text.” A “text-collage” composed of bits and pieces (words,
sentences, verses, various elements) of narrative (narrative as found /
appropriation) “stitched” together.



for Desiderius

       That when we read, we read words in succession, is analogous (in the sense of:
ana-logos, or, back to / the beginning, balance, equal or according to proportion /
ratio) to when we “read” a painting — we read the parts in succession, but the
parts are present simultaneously (so is memory, remembrance), notwithstanding
the fact that when we “read” a painting we think we are taking it in in toto with
one all-encompassing look.
       We are still joining the parts, albeit these parts are in touch with one another,
they are “in continuous flow.”
       Albeit the parts are still in touch, cubism breaks or dislocates the continuous
flow into geometrical structures, thus the appearance of disjointed fragments,
fragments which are still in touch.
       In this continuous flow of geometrical structures, the disjointed fragments
appear unmeaningful. It is in the redding of the parts that meaning occurs, that
discourse occurs (discourse follows).
       And in this “indeterminacy” we find an openness, a freedom — for the
discourse [the logos] is in our action, in our participation [receptive intuition / in
the radiance], it is of our interlocation, it is of our interlunations. The poet must
make room for being among that-which-is. And if not the poet . . . who, then?

ody / ode / aeidein, to sing