The element which makes up the life of phenomenology ... is "fiction." Edmund Husserl, Ideas I In this essay I aim to discuss a few writers of phenomenological literature as seen in the wake of Husserlian phenomenology, and to summon a response from these writings to some issues in phenomenology as Husserl conceived it. In Rainer Maria Rilke, Francis Ponge, and Alain Robbe-Grillet (not to mention Sartre) we find serious poetic-literary examinations examinations of the subject's relation to objects-a relation that Husserl thought could be finally accounted for by the phenomenological reduction and the notions of intentionality and constitution. The poetic-literary writer, however, competes with the philosopher in regard to facility of description, and this relationship is presented, albeit still in a phenomenological vein, in contending ways in these literary writings. At issue in this essay are two specific concerns: firstly, the problem of description in Husserlian phenomenology in light of poetic-literary description; and secondly, the relationship of poetic-literary description to the phenomenological, eidetic, and transcendental reductions. I will suggest that literature yields profits for phenomenology "proper" even in cases where the divergence from Husserl's procedures and aims is significant. Such an examination, however, cannot legitimately begin without at least mentioning the well-known efforts, in the history of modern philosophy, to regulate the imaginative language of literature, and to exclude it from philosophical articulations.1 Following Plato's concerns about the distance of poetry from truth as he conceived it, modern philosophers restrained elements of the imagination that give way to free association or to plays of meaning, incompatible with Descartes' "clear and distinct ideas"2 or departing, according to Hume, in "falsehood and fiction" from "real matters of fact.3' As much as Descartes himself admired literature, it could not find a place in "first philosophy"; moreover, in the Meditations he associates the imagination with the instability of sense-- experience, which could always "prove to be an illusion, a coherent dream"4 and which could give rise to the incoherent associations of madness. Yet some of the most literary moments in Descartes' Meditations occur when Descartes sets out to describe the experience of objects as known by sense-perception, moments that, in light of modern European literature, foreshadow Rilke's fantastical description of ordinary things in the novel The Notebooks of Malte Laurids Brigge (1910); Sartre's discussions of objects in Nausea (1939); Alain Robbe-Grillet's post-Sartrean, hyper-phenomenological obsession with the surfaces of things (Dans le labyrinthe, 1959; La Jalousie, 1957); and Francis Ponge's procedure, in the poems of Le parti pris des choses, of seducingly "caressing" things with words until the writer can, as it were, imaginatively take up residence within them.5 Before Descartes makes the reduction to the pure concepts of the intellect, he suspends his ordinary faith in appearances-- suspends the natural attitude6 and thenceforth allows himself to imagine7 that perhaps he is not sitting by the fire in his winter cloak, but wrapped in bed and only dreaming that he is so. Descartes is quick to associate sensory illusions and dreaming with madness; in madness one could think that one's own head is made of pottery, or of pumpkins, or of glass! Only in poetic-literary language could such suggestions, at least with impunity, be explored-and indeed, such literature has surfaced in the past century and recently.8 The relationship between philosophy and literature, however, was to shift with phenomenology, for, as Merleau-Ponty articulates, in the spirit of Husserl's concern for the lifeworld, "everything changes when a phenomenological ... philosophy assigns itself the task, not of explaining the world or of uncovering its `conditions of possibility,' but rather of formulating an experience of the world, a contact with the world which precedes all thought about the world. …
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