Things Merely Are : Philosophy in the Poetry of Wallace Stevens

This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book. This Book Is An Invitation To Read Poetry. Simon Critchley Argues That Poetry Enlarges Life With A Range Of Observation, Power Of Expression And Attention To Language That Eclipses Any Other Medium. In An Extended Engagement With The Poetry Of Wallace Stevens, Critchley Reveals That Poetry Also Contains Deep And Important Philosophical Insight. Above All, He Argues For A 'poetic Epistemology' That Enables Us To Recast The Philosophical Problem Of The Relation Between Mind And World, Or Thought And Things, In A Way That Allows Us To Cast The Problem Away.. Drawing On Kant, The German And English Romantics And Heidegger, Critchley Argues That, Through Its Descriptions Of Particular Things And Their Difficult Plainness, Poetry Evokes The 'mereness' Of Things. Poetry Brings Us To The Realization That Things Merely Are, An Experience That Provokes A Mood Of Calm, A Calm That Allows The Imagination To Press Back Against The Pressure Of Reality. Critchley Also Argues That This Calm Defines The Cinematic Eye Of Terrence Malick, Whose Work Is Discussed At The End Of The Book.--book Jacket. Or So We Say, Twenty-one Propositions -- Poetry, Philosophy And Life As It Is -- Sudden Rightnesses -- Wallace Stevens's Intimidating Thesis -- The Twofold Task Of Poetry -- The Thing Itself And Its Seasons -- Conclusion -- Afterword : Calm, On Terrence Malick. Simon Critchley. Includes Bibliographical References (p. 123-129) And Index. Annotation This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away. Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away.

Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book. Book Cover......Page 1 Title......Page 6 Copyright......Page 7 Contents......Page 10 Acknowledgements......Page 12 Advice to the reader......Page 16 1 Or so we say – twenty-one propositions......Page 24 2 Poetry, philosophy and life as it is......Page 30 3 Sudden rightnesses......Page 48 4 Wallace Stevens’s intimidating thesis......Page 60 5 The twofold task of poetry......Page 72 6 The thing itself and its seasons......Page 76 Conclusion......Page 100 Afterword: Calm – on Terrence Malick......Page 106 Thanks......Page 130 Notes......Page 132 Bibliography......Page 138 Index......Page 146 Humanities Book Cover 1 Title 6 Copyright 7 Contents 10 Acknowledgements 12 Advice to the reader 16 1 Or so we say – twenty-one propositions 24 2 Poetry, philosophy and life as it is 30 3 Sudden rightnesses 48 4 Wallace Stevens’s intimidating thesis 60 5 The twofold task of poetry 72 6 The thing itself and its seasons 76 Conclusion 100 Afterword: Calm – on Terrence Malick 106 Thanks 130 Notes 132 Bibliography 138 Index 146