Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant

Although it reads as a major poetical text about painting, Another Life unrelentingly pores over such phenomena as disappearance, blindness, visual fallacy or optical distorsions. The paintings that are presented are either out of focus or else steeped in waxing shadows. One may then have to conceiv...

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Main Author: Kerry-Jane Wallart
Format: Article
Language:English
Published: Presses universitaires de Rennes 2007-02-01
Series:Revue LISA
Online Access:https://journals.openedition.org/lisa/1228
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author Kerry-Jane Wallart
author_facet Kerry-Jane Wallart
author_sort Kerry-Jane Wallart
collection DOAJ
description Although it reads as a major poetical text about painting, Another Life unrelentingly pores over such phenomena as disappearance, blindness, visual fallacy or optical distorsions. The paintings that are presented are either out of focus or else steeped in waxing shadows. One may then have to conceive of poetry as superseding painting, as a genre more able to delineate the contours of this invisible world which is so much the concern of our abstract (post)modernity; the poets who are featured as visionary blind men throughout the text might then know how to withdraw from the world in order to better represent it. The purpose of this article is to show to what extent painting is not described by Derek Walcott as a failure but rather as the means of a poetical incarnation through a gesture of diversion from the visible universe. These verses of an unfit seer quickly veer towards a tribute paid to a genre, painting, which is not so much opposed to poetry as made to echo it through graphics which, in Rimbaldian fashion, take on colours.
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series Revue LISA
spelling doaj-art-cda2afc443ca4300a4d2d49d29bb991c2025-01-06T09:02:14ZengPresses universitaires de RennesRevue LISA1762-61532007-02-0159611010.4000/lisa.1228Another Life (1972), de Derek Walcott, ou les lettres du mal-voyantKerry-Jane WallartAlthough it reads as a major poetical text about painting, Another Life unrelentingly pores over such phenomena as disappearance, blindness, visual fallacy or optical distorsions. The paintings that are presented are either out of focus or else steeped in waxing shadows. One may then have to conceive of poetry as superseding painting, as a genre more able to delineate the contours of this invisible world which is so much the concern of our abstract (post)modernity; the poets who are featured as visionary blind men throughout the text might then know how to withdraw from the world in order to better represent it. The purpose of this article is to show to what extent painting is not described by Derek Walcott as a failure but rather as the means of a poetical incarnation through a gesture of diversion from the visible universe. These verses of an unfit seer quickly veer towards a tribute paid to a genre, painting, which is not so much opposed to poetry as made to echo it through graphics which, in Rimbaldian fashion, take on colours.https://journals.openedition.org/lisa/1228
spellingShingle Kerry-Jane Wallart
Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
Revue LISA
title Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
title_full Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
title_fullStr Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
title_full_unstemmed Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
title_short Another Life (1972), de Derek Walcott, ou les lettres du mal-voyant
title_sort another life 1972 de derek walcott ou les lettres du mal voyant
url https://journals.openedition.org/lisa/1228
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