Few phenomena gave me more delight than to observe forms which thawing sand and clay assume in flowing down sides of a deep cut on railroad. --Thoreau (344) On floor of empty carriage lay five or six kernels of oats which danced to vibrations and formed strangest patterns--I fell to pondering over it. --Kierkegaard (169) One of Marjorie Perloff's projects in Wittgenstein's Ladder is to delineate a (181) reading several contemporary poets directly influenced Wittgenstein, among them Robert Creeley, Rosmarie Waldrop, and Ron Silliman. I try to continue this work here reading Jorie Graham's poetry (though it may have been influenced Wittgenstein only indirectly), not so much with a Wittgensteinian poetics in view as with aim of advancing what Wittgenstein calls understanding which consists in 'seeing connexions' between cases (Philosophical Investigations [section]122), an understanding less occupied with constructing a theoretical edifice than with illuminating points of contact between that are already in front of us. I also try to follow work of Thomas Gardner on Graham's poetry, but again with a difference: where Wittgenstein is usually left hovering, though no doubt significantly, in background of Gardner's work (particularly in Regions of Unlikeness), I bring his writing to foreground, especially On Certainty. One reason for doing this is to make a case for importance of thorough applications of Wittgenstein in literary studies, where references to his philosophy, even in work of astute critics, are often cursory and misleading. Take, for example, Angus Fletcher's claim that Wittgenstein see[s] nothing good in Transcendental (73), a claim that would lump Wittgenstein with logical positivists from whose misreadings of Tractatus he took such pains to distance himself. While Perloff and Gardner, along with James Guetti, Walter Jost, and others, have done much to bring Wittgenstein to literary studies, there is still more, I think, to be done. First, a few words on supposed rift between Wittgenstein and Continental thought seem called for. Wittgenstein was, of course, first and foremost a Viennese, a Continental, and yet his philosophy is more regularly represented as analytic and therefore opposed to writings of, say, Derrida. This has obscured their often similar conclusions, particularly concerning how language functions according to an inherent errancy that guarantees meaning via ever-present prospect of its breakdown. Both Wittgenstein and Derrida propose this picture of language, though they do so in different ways--Derrida decentered, playful discourse and Wittgenstein associative remarks and condensed similes. Reading one without other risks calcification of interpretation against which both caution us--and against which Jorie Graham's poetry is constantly on guard. From first poem of her first book, Graham has taken up question of how meaning is simultaneously generated and frustrated, secured and set adrift, language. In The Way Things Work things would seem to include language itself, which functions by admitting / or opening away (Dream 3), solution (both answer and mixture). Graham believes in several particular things--ingots, levers and keys, cylinder locks and pulleys--and early in Philosophical Investigations Wittgenstein famously likens function of words to the tools in a tool-box: there is a hammer, pliers, a saw, a screw-driver, a rule, a glue-pot, nails and screws ([section]11). Similarly in Graham's poem, things, including words, function a variety of mechanisms, some of which fasten while others loosen: The way work / is that eventually / something catches. What are doing when they aren't catching is very condition which they eventually do catch; possibility of intelligibility (of grasping or catching drift of something) is ensured unintelligibility, evasion--a dynamic that Graham's work also investigates, laments, celebrates, and lets go (both liberates and allows). …
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