Abstract
ABSTRACT The essay focuses on Philip Terry’s collection Quennets (2016), exploring its formal innovativeness, derived from the techniques of the Oulipo, as a way of evoking a vitality of matter. The idea of matter being alive is derived from Jane Bennett and connected to the idea, developed by biosemiotics, that all entities in the thingly realm are capable of generating and reading signs. It is in this dual context that Quennets is situated in order to show how the various formal experiments come to embody the meaning-making capacities of matter, which serves to critique the human-centred views of language and agency.
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