Another set of quotes from Lyn’s “Rejection of Closure”:
… In the “open text,” all the elements of the work are maximally excited; here it is because ideas and things exceed (without deserting) argument that they have taken into the dimension of the work.
The “open text” often emphasizes or foregrounds process, either the process of the original composition or of subsequent compositions by readers, and thus resists the cultural tendencies that seek to identify and fix material and turn it into a product; that is, it resists reduction and commodification.
In “Resistance,” I proposed the paragraph as a unit representing a single moment of time, a single moment in the mind, its content all the thoughts, thought particles, impressions, impulses—all the diverse, particular, and contradictory elements—that are included in an active and emotional mind at any given instant. For the moment, for the writer, the poem is a mind.
… One of the results of this compositional technique, building a work out of discrete fields, is the creation of sizable gaps between the units. To negotiate this disrupted terrain, the reader (and I can say also the writer) must overleap the end stop, the period, and cover the distance to the next sentence. Meanwhile, what stays in the gaps remains crucial and informative. Part of the reading occurs as the recovery of that information (looking behind) and the discovery of newly structured ideas (stepping forward).
Yurii Tynianov : “The unity of a work is not a closed symmetrical whole, but an unfolding dynamic integrity. . . . The sensation of form in such a situation is always the sensation of flow (and therefore of change)…. Art exists by means of this interaction or struggle.”
If language induces a yearning for comprehension, for perfect and complete expression, it also guards against it.