This potential helps explain the increasing presence of white poetics in the forms of the poems and within the community of mourners. Like the spiders, the poet must reclaim death as part of his domain. To combat death, poetry-and the poet-must contain the power of death. The artist then has a dual role: to serve as the witness, and to show the community how to heal in the face of danger. In his elegies, Alexie struggles with the role of the artist and with the efficacy of art. The poet continues and recreates the world through song, but potentially also offers death. The ability to create or destroy, both artistically and poetically, is the role of the poet as well. Stories, and poetry, have the ability to create or destroy. ![]() "Learning to use the stories is one of the jobs of the poet, whom Sherman Alexie presents as a descendant of the spiders, a modern day spinner who "ask your permission / to weave a story" that will keep the speaker and his beloved warm and safe. According to Levinas, being cannot be explained in its total reality without “the perspective of the relation with the other” (“Reality and its shadow”) therefore, following the ethical thought of Levinas, and also the historiographical thought of Michel de Certeau, this essay looks as well at the expression of heterology (or, a discourse on the Other) in both works-an expression, moreover, that, in Certeau’s words, “causes the production of an exchange among living souls” that “fashions out of language the forever-remnant trace of a beginning that is as impossible to recover as to forget.” This essay also ruminates, with reference to an extremely topical contemporary play and a densely opaque remnant of Anglo-Saxon poetry, the ethical dimensions of the use of the imagination to stage encounters between the present and the past, between being and history. To learn more about our books and journals programs, please visit us at our website.Through an analysis of Tony Kushner’s 2001 play "Homebody/Kabul" and the Old English "Ruin" poem, this essay explores the tension, anxiety, and isolation inherent in the aesthetic and philosophical enterprises of measuring the distance that separates myth from real being (a project that takes place, I would argue, against Levinas, not just outside of the artwork-as criticism-but also within it, in the relationship between the artist and his medium, and even within the medium itself). UNC Press publishes over 100 new books annually, in a variety of disciplines, in a variety of formats, both print and electronic. Many of our journal issues are also available as ebooks. UNC Press publishes journals in a variety of fields including Early American Literature, education, southern studies, and more. For a full listing of Institute books on click here. ![]() ![]() ![]() More information can be found about the Omohundro Institute and its books at the Institute's website. UNC Press is also the proud publisher for the Omohundro Institute of Early American History and Culture in Williamsburg, Virginia. The purpose of the Press, as stated in its charter, is "to promote generally, by publishing deserving works, the advancement of the arts and sciences and the development of literature." The Press achieved this goal early on, and the excellence of its publishing program has been recognized for more than eight decades by scholars throughout the world. Founded in 1922, the Press is the creation of that same distinguished group of educators and civic leaders who were instrumental in transforming the University of North Carolina from a struggling college with a few associated professional schools into a major university. The University of North Carolina Press is the oldest university press in the South and one of the oldest in the country.
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