The Poetics of Space: Gaston Bachelard (Penguin Classics) - Softcover

Bachelard, Gaston

Softcover

ISBN 10: 0143107526 ISBN 13: 9780143107521

Verlag: Penguin Classics, 2014

Inhaltsangabe

Beloved and contemplated by philosophers, architects, writers, and literary theorists alike, Bachelard's lyrical, landmark work examines the places in which we place our conscious and unconscious thoughts and guides us through a stream of cerebral meditations on poetry, art, and the blooming of consciousness itself.

Houses and rooms; cellars and attics; drawers, chests and wardrobes; nests and shells; nooks and corners: no space is too vast or too small to be filled by our thoughts and our reveries.

With an introduction by acclaimed philosopher Richard Kearney and a foreword by author Mark Z. Danielewski.

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The son two of shoemakers, Gaston Bachelard had an illustrious academic career at the Sorbonne, eventually gaining the Légion d'Honneur and the Grand Prix National des Lettres. His work has influenced intellectual titans like Foucault, Merleau-Ponty, Deleuze and Althusser.

Mark Z. Danielewski is best known for his striking debut novel, House of Leaves.

Richard Kearney is the Charles B. Seelig Chair of Philosophy at Boston College.

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Beloved and contemplated by philosophers, architects, writers, and literary theorists alike, Bachelard's lyrical, landmark work examines the places in which we place our conscious and unconscious thoughts and guides us through a stream of cerebral meditations on poetry, art, and the blooming of consciousness itself. Houses and rooms; cellars and attics; drawers, chests and wardrobes; nests and shells; nooks and corners: no space is too vast or too small to be filled by our thoughts and our reveries.

With an introduction by acclaimed philosopher Richard Kearney and a foreword by author Mark Z. Danielewski.

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Foreword

MARK Z. DANIELEWSKI

For you without imagination, who can matter-of-factly claim that you’re not the creative type—mind you, not proudly claim; for an imagination of ruin must burn beneath defiances against personal invention—then best put this book down and seek out instead some almanac of entertainment free from all such catalytic risks to a mind just mad enough to make out of one world another world.

Gaston Bachelard’s book—published originally in 1957 by Presses Universitaires de France as La poétique de l’espace—has as little to do with the House, Cellar and Garret, the Hut, Drawers, Chests and Wardrobes, not to mention Nests, Shells and even Roundness (these from chapter titles), as it has everything to do with how our comprehension of space, however confined or expansive, still affords an opportunity to encounter the boundaries of the self just as they are about to give way.

“The lock doesn’t exist that could resist absolute violence, and all locks are an invitation to thieves. A lock is a psychological threshold.” Yet despite saying so, Bachelard does not turn to violence nor does he keep the company of thieves. There aren’t even many locks. In fact it’s hard, over the course of even one reading, not to detect the warmth of that rare personality who unmakes a thief simply by making every article of interest available. Sit down. Stay awhile. Something to nibble on? Generosity of spirit abounds. Doors swing open. Thresholds offer little impediment. All are welcome. And in return, Bachelard asks of us only to dream. Or rather he gives us the chance to dream. For a chamber is no more a cage than reverie is an escape. Improbable discoveries wait at every border. As when Bachelard extends René Char’s invitation regarding

Discovery—not “hostile space”—concerns Bachelard. In the same way that Steve Erickson’s Days Between Stations and Thomas Pynchon’s Against the Day revive the sands of time as a medium intent on voyage, Bachelard gently addresses those settings we live in, and finally die in, with the lightness of why we live in the first place. Suddenly a chapter on miniatures offers a reflection on a hermit who while “watching his hour-glass without praying . . . heard the catastrophe of time.” The matter of prayer seems incidental to the anecdote, and yet throughout these pages there arises something meditative. Call it a calculus of emotional continuity or a music that only the grieving can know because they chose to carry on: what warms the hearth long after catastrophe has razed both hearth and home.

The Poetics of Space is one of those books in the tradition of Edmond Jabès’s The Book of Questions, Harold Bloom’s The Anxiety of Influence, Anne Carson’s Eros the Bittersweet, and Lewis Hyde’s The Gift. Whether portraiture of Sarah and Yukel; the designs poets inscribe upon each other; Sappho; the Kula exchange of necklaces and armshells, each of these aforementioned books becomes so much more: an indispensable guide for anyone set on becoming an artist.

Over the years I have discovered that it is not uncommon to mention Bachelard and hear in return a sigh of happy recognition. I have sat at tables crowded with journalists, graphic artists, urban planners, therapists, sculptors, and architects, all of whom carry some fond memory of their first encounter with The Poetics of Space.

The approval of architects seems the most obvious and at the same time the most odd. Despite the mention here of everything from floorboards to molding, names such as Isidore & Anthemius, Ictinus & Callicrates, da Vinci, Mansart, Gabriel, Soufflot, Garnier, Bartholdi, let alone Eiffel, Van Alen, Wright, Gaudí, Le Corbusier, or Pei, never appear. Instead the authorities vitalizing this work are Desbordes-Valmore, Caubère, Wahl, Caroutch, Poe, Barucoa, Morange, Clancier, Éluard, Milosz, Sand, Lafon, Duthil, Bosco, Monteiro, Proust, Spyridaki, Cazelles, Hartmann, Thoreau, Laroche, Guillaume, Bourdeillette, Richaud, Seghers, Supervielle, Wartz, Péguy, Rouffange, Vigée, Mallarmé, Bousquet, Goll, Ganzo, Shedrow, Valéry, Alexandre, Puel, Rouquier, Blanchard, Albert-Birot, de Boissy, Breton, Hugo, Bureau, Cadou, Patocchi, Rimbaud, Masson, Daumal, Vallès, Jouve, Guéguen, Baudelaire, Tardieu, Michaux, Pellerin, Barrault, Tzara, Rilke. Poets one and all. And why not? Just as stanza means “verse,” it also means “room.”

Though architecture prompted the recommendation, my own introduction to Bachelard came by way of poetry. A young woman I’d met one night in a roomy loft on Varick Street responded to my sonnets with news that in Italian her name meant “death”—A Non-Name Admittedly. Not that my interest was put off by this a.m. warning. Eventually I came to give her more than poems, including an early draft of my first novel. The seduction still failed and her stern advice to read Bachelard hardly seemed to make up for bruised desire. But what did I know? Thanks to love’s failure—and here, really, is a belated thanks to her decades due—a necessary revision was set in motion thanks to a young woman whose name meant nothing more.

Of course, sometimes nothing more can mean so much more. And these pages offer just that. After all, here is a thinker who urges the reader to discover an excess of association: “And how should one receive an exaggerated image, if not by exaggerating it a little more, by personalizing the exaggeration? . . . in prolonging exaggeration, we may have the good fortune to avoid the habits of reduction.” At every turn Bachelard encourages personal engagement: “A house that has been experienced is not an inert box. Inhabited space transcends geometrical space.” Or here: “Sometimes the house grows and spreads so that, in order to live in it, greater elasticity of daydreaming, a daydream that is less clearly outlined, are needed.” What would that have been like? To have had such a teacher who applauded you for letting your thoughts run wild? Encouraged you to live beyond gutters and margins, frames and apps, the limits of map and page? Well, this is that education.

Note how Bachelard’s Buddhistlike invocation creates out of the trap-of-the-corner a place to escape into the open of all that is not. Whether being there (être-là) or not there—or quoting Michaux, “en dedans-en dehors” (inside-outside)—by way of the house Bachelard grants access to the vastness of place while at the same time admitting within a vast inverse. Doors—ajar, in-between, mostly open—wait for us. Windows, however, seem less important, likely because of the way walls thin and nearly vanish. And I say “nearly” only because one senses that Bachelard believes that the invention of structure results in the transparency through which we need to view the world.

Above and beyond dwellings or even the inspirations of water and fire (see his Water and Dreams; The Psychoanalysis of Fire), image and language are central to Bachelard. He reveres image for its impact and the ecstasy it provokes just as he believes it is “the property of a naïve consciousness; in its expression, it is youthful language.” (We can only imagine with what reservation he would observe our present-day addictions to jpegs and gifs.) Language, on the other hand, recalls time just as it suspends the ordination of time:

We find ourselves experiencing in words, on the inside of words, secret movements of...

Details zur Ausgabe

• Verlag: Penguin Classics
• Erscheinungsdatum: 2014
• Sprache: Englisch
• ISBN 10: 0143107526
• ISBN 13: 9780143107521
• Einband: Taschenbuch
• Anzahl der Seiten: 288
• Kontakt zum Hersteller: Penguin Random House Ireland; https://eu-contact.penguin.ie; ; Morrison Chambers, 32 Nassau Street; Dublin; D02 YH68; Irland