POEM INSPIRED BY READING ISHIGURO:”THE UNCONSOLED”; AND DECONSTRUCTIONIST EXEGESIS THEREOF

Miasmas of

Unwinding

Memory

Or

Loss of;

As Ryder,

And WE

(The readers)

Wander through

Hazes of

Aimless

Meanderings

(Tautologously)

Oxymoronically,

Remembering and

Forgetting.

We

BECOME

The character;

We exemplify

Barthes’ adage that

The text lies

Somewhere-

In the

GAP

BETWEEN

Author

Narrator and

Reader:

Us.

That gap IS

The “text”

…………Are we in

Divided

Germany?

Or

An unidentified

East European town?

Is the helter-skelter

Music

Of Kazan

A metaphor

Of political

Turmoil?

……..

Blurred boundaries,

Vertical time,

As Ryder

Dredges up

Past memories

Of childhood

For attemped

(Un)consolation

And

Redemption:

We feel him

At the behest

Of everyone else’s

Whims and

Demands

………….

Scenes

Shift like

Alice in

Wonderland

AS Ryder

Enters a

Series

Of doors

And time-shifts.

Ryder/We

TRY to

Move forward

But we are

Stuck

In shifting

Sands,

Enmired in

Ryder’s

Half-recalled

Memories,

Past and present.

….

Time somersaults

Upon itself

As Brodsky

Tries to

Regurgitate

His love for

Miss Collins

…..

A la recherche

………..

Hopelessly

……………………………………………………………………………………………..

DECONSTRUCTIVELY, this novel is an object-lesson in having to accomodate contrapuntal narratives and possibilities(and its musical metaphors go hand-in-hand with this): for example, where ARE we?. Berlin? but the town is too small and the wall is described as a nineteenth century “folly”. Ryder possibly has Altzeimer’s Disease, an explanation for the sudden time and place shifts, perhaps, but too reductionist in itself. So, why do not we relax, enjoy and just inhabit the MIDDLE ground, the space BETWEEN , but CONTAINING, all the possible meanings/interpretations. We ARE/BECOME the protagonist and the novel: we grope around in Ryder’s (and possibly Ishiguro’s) darkness{there is much, a la Sebald, of dark service corridors leading nowhere(cf, descriptions of the blocked off service sections of the Great Eastern Hotel in “Austerlitz”), but Ishiguro, whilst acknowledging having read Sebald, denies being influenced by him}. The writer/narrator/reader divide breaks down and FREEINGLY so; so the text is somewhere in the gap/in between  our own subjectivity, Ryder’s damaged consciousness and Ishiguro’s schema for the book: the text is, as Barthes would say(in”Death of the Author”) what lies in between.Float with it and you might enjoy it!

……….

It is also very funny, mesmeric, repetetive(joyfully so!), paranoid in tone and rich; and has an affecting, if somewhat reserved, look at human loss and missed opportunities(Brodsky)

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Published by: decayetude

ENTHUSIASMS: CLASSICAL MUSIC, ESPECIALLY OBSCURE ROMANTIC COMPOSERS; BACH/HANDEL LITERATURE, ESPECIALLY THOUGHTFUL, WELL-WRITTEN(STYLISTICALLY)NOVELS W G SEBALD WALTER BENJAMIN THEODOR ADORNO(JUST BEGINNING!) AESTHETIC PHILOSOPHY GAY MEN'S WRITING;QUEER THEORY STIMULATING DISCUSSIONS(EMOTIONALLY AND INTELLECTUALLY) GOOD RICH THICK ESPRESSO MICHAEL PONTI SPRITUALITY/LIFE'S "AURA"(BENJAMIN), WHATEVER TRANSCENDENTAL THING YOU WANT TO CALL THIS MEMORY-the elusiveness thereof. LOST TIME AND AN ATTEMPT AT ITS REDEMPTION(NON THEISTICALLY/RELIGIOUSLY)

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2 thoughts on “POEM INSPIRED BY READING ISHIGURO:”THE UNCONSOLED”; AND DECONSTRUCTIONIST EXEGESIS THEREOF”

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