By Annick Hillger
Hillger provides a learn of Michael Ondaatje's aesthetics and his position in the sleek quest for self and the Canadian quest for nationwide identification.
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Not Needing all the Words: Michael Ondaatje’s Literature of Silence
Hillger offers a research of Michael Ondaatje's aesthetics and his position in the smooth quest for self and the Canadian quest for nationwide identification.
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Additional resources for Not Needing all the Words: Michael Ondaatje’s Literature of Silence
Sample text
Mirroring the extent to which his body has been mutilated, Peter’s art also depicts fragmented bodies: “He made fragments of people” forming “a head burrowed in love” or “an arm swimming” (DM , 90). As an artist, Peter does not create coherent bodies, Menschengestalten in Kant’s sense. In his art, bodies are torn apart: a pair of breasts or a couple of fingers, a head or an arm represent the isolated fragments of a coherent human form. ). Considering that we have read about all kinds of torture inflicted on Peter, it is remarkable that the first and only reference to violence in this poem occurs in relation to Peter’s art.
In pointing out that “poststructuralism can be seen as the revenant of modernism in the guise of theory” (40), Huyssen stresses that this is precisely what makes it postmodern. The postmodern thus sheds light back onto the modern. According to Huyssen, the relationship between poststructuralism as a form of literary theory and modern literary practice is one following a logic of Nachträglichkeit (belatedness) both in the psychoanalytic and in the historical sense. I wish to broaden this relationship into one in which contemporary literary forms like Ondaatje’s can be seen as shedding light onto the dark spots of modernity understood in its philosophical sense.
His fragmented art no longer represents the sensible presentation of an Idea, in Hegel’s sense. 3 While “Peter” is shocking to read, since it touches upon the violence inherent in the formation of the self, the poem “Signature,” also from The Dainty Monsters, is very different both in tone and mood. ” In a sense, it picks up the theme of the artist and his art developed in “Peter,” but it does so in a way that makes us laugh. The poem opens with a depiction of a car speeding through the night: The car carried him racing the obvious moon beating in the trees like a white bird.
