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Over the advance of bristles decades, poet, novelist, artist, philosopher, and abstract artisan Madeline Gins (1941–2014) developed a groundbreaking anatomy of assignment that traverses antidotal boundaries. She is best accepted for her collaborations with her husband, the artisan Shūsaku Arakawa (1936–2010). Arakawa was already a adolescent artisan of agenda aback they met in 1962. Accord bound took flight as they broadcast his painting convenance into a alternation of 83 image-text panels, collectively blue-blooded The Mechanism of Meaning, complete over the advance of a decade. In accession to their art practices, Gins and Arakawa co-authored bristles books. Best notably, during their 45-year collaboration, they developed the Reversible Destiny architectural project, the ambition of which was annihilation beneath than to aftermath barrio and environments that accept the accommodation to defeat death. The access abaft this is alluringly circuitous yet, as their 2002 book Architectural Anatomy outlines, it stems from the actual animate ascertainment that architectonics exists primarily in the account of the body. But what is the anatomy in the aboriginal place? In apperception on this catechism abounding upending of built-in assumptions ensues: Gins and Arakawa reframe not alone the conceptual foundations of architecture, but additionally of the human, which they adduce doesn’t abide afar from the anatomy and environment; added properly, the animal is an organism-person-environment (Architectural Body, 1). Bristles projects were accomplished and the Reversible Destiny Foundation, created by Gins and Arakawa in 2010 to advance their work, keeps this bequest alive.



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Given these factors it is no admiration that the Reversible Destiny action and collaborations with Arakawa accept overshadowed Gins’s absolute arcane production, abounding of which was abstruse or went out of book in her own lifetime. Who doesn’t appetite to apprentice how not to die? Who isn’t instantly charmed by the angel of Arakawa and Gins, anachronous 2007, on the Foundation folio of the Reversible Destiny website; they sit on the stoop of their abode and flat at 124 West Houston — she attractive like a bohemian sphinx, he captivation her calmly bound with one hand, the added duke abominably dangling the keys to what I brainstorm as a commonwealth of artistic and calm bliss. That architectonics adjoin afterlife and the affair of accord far adumbrate Gins’s arcane bequest should not advance us to accept that her absolute autograph is of bottom bulk than her collaborative work. The applesauce of this acceptance is fabricated bright by Siglio Press’s advertisement of The Saddest Thing Is that I accept had to Use Words: A Madeline Gins Reader, expertly alien and edited by Lucy Ives.

Sigilo’s Clairvoyant provides admission to Gins’s above texts, all of which would be currently bare otherwise. Lucky for readers, Ives selects a absolute arrangement of works: from the 1960s and ’70s, 27 pages of abstruse balladry as able-bodied as two essays; a complete facsimile reproduction of Gins’s 1969 beginning atypical WORD RAIN; and selections from her two added notable book-length works, What the President Will Say and Do!! (1984) and Helen Keller or Arakawa (1994). Ives agreement WORD RAIN a “carefully calibrated and complete artist’s book, as able-bodied as a animadversion on the atypical form,” and asserts that it is “Gins’s best ablaze endeavor and amid the best cogent works of beginning book of the additional bisected of the twentieth century.” This is not a abstract appraisal — the Clairvoyant care to abet a afterlight not alone of Gins’s bequest as Arakawa’s collaborator, but of the wherefores and why’s of beginning autograph — of its accommodation to say and do what added forms of autograph or art-making cannot. The book as a anatomy of technology ability not defeat afterlife but it can actualize a amplitude for re-tooling our faculty of what it is to be human.



This is a alpine order, but Gins’s analysis assets its ability from an access agnate to that of her architectural theory: the book, like the building, provides the befalling to catechism accepted concepts of actuality human, re-designing technology to bigger breed animal assets. Accustomed the certain captivation with the alone that accompanies books (we ability apprehend the aforementioned book but I cradle my own atypical copy, feel accent move through me as I transform marks on a folio into “sense”) it isn’t hasty that Gins uses the anatomy to dislodge conventions surrounding the arcane agent for alone subjectivity par arete — the narrator frequently accepted as “I.”

This retooling manifests throughout A Clairvoyant in altered ways: a affiliate of What the President Will Say and Do! blue-blooded “Brief Autobiography of a Non-Existent,” for example, plays with chronology, alms an “autobiographical” dateline that begins in 1913, gain up to 1932, dips aback to 1840, and jogs aback through the ’30s while bouncing to the ‘20s and including the dates of 1300 and 1 forth the way . All of the “events” in this “autobiography” are accounting as negations: “1915: A bee did not bite me and account a aerial agitation which produced aberrant deliriums from which I still suffer. 1918: I did not activate to masturbate. I had no ambition of arena hookey.” Disordering the banausic anatomy and autograph facts as negations credibility up the applesauce of depending on timelines to back a life; it suggests that the cocky ability be fruitfully advised from the point of appearance of what it is not. Hellen Keller or Arakawa’s narrator proposes a array of amalgam appearance that is sometimes Arakawa, sometimes Keller, sometimes Gins — and sometimes a aggregate of all three, casual through, as Gins addendum in her “Sources” page, “the words and images of Helen Keller and Arakawa and others.” These “others” accommodate poets (like Paul Celan, Robert Creeley, and Stacy Doris) as able-bodied as philosophers (like Gershom Scholem) and thinkers from added disciplines.



In WORD RAIN, the novel’s anonymous narrator is not the architect of the account that we are account but is, rather, a clairvoyant who involves us in the action of account a manuscript. This undermines the accepted alignment of first-person narrators with antecedent of their own stories, and their admiration to analyze “I” from not-I. How does actuality animal look, WORD RAIN asks, if we accede the “I” as a clairvoyant rather than author?

For one, the act of reading, as articulate by Gins, is inventive, active, manifold. She presents her reader-narrator not alone advertent the manuscript’s plot, but additionally affianced in such activities as skimming, account out loud, and account creatively, breaking passages bottomward and inventively defining words. The reader-narrator generally turns to their clairvoyant — to us — to accommodate instruction: “Read this aloud with your articulation abaft your eyes: I am account this aloud.” This extends the comedy of accord from the reader-narrator and her argument to the actuality who holds the book.

Along with possessing an adroit and collaborative nature, Gins’s I-as-reader is porous, carrying a eyes of animal subjectivity consistently in balance of the atypical self. The I-as-reader is able of deep, intermingled connection, a affiliation that is not alone trans-personal or trans-species, but trans-material. For example, the argument contains a fair bulk of bridge over amid plots: the artifice of account the arrangement and the artifice aural the arrangement that is actuality read, which seems to circumduct about an appointment amid a appearance called Mary and an old man. These plot-crossing passages all chase a agnate pattern: first, the narrator-reader describes the abstruse act of account — for example, “I anxiously extracted the abutting folio from the accumulation of papers.” This again morphs into an action that integrates the actual of accent into the body, a transformative action for both clairvoyant and language: “Words vaporized afore my actual eyes … they recondensed on the heavily bedlam centralized tips of the band of sight.” Alone then, afterwards this actual transformation, does the clairvoyant access central the artifice of the manuscript: “They could about apprehend the old man perspiring. He asked for some water.”

In accession to this porosity at comedy aural the plot, there is a porosity beyond platforms — that is to say, amid the textual reader-narrator and WORD RAIN’s clairvoyant in the flesh. This comes from the astonishing aftereffect of account a book that is about reading, which creates the awareness that the narrator of WORD RAIN is address one’s own experience. How calmly any accustomed reader’s faculty of “I” block into another! Furthering this slippage, several pages of WORD RAIN are printed with the angel of the reader-narrator’s deride in the margins, as if captivation the book. Because the deride is the exact aforementioned admeasurement as my deride I begin myself putting my deride on top of the image, appropriately physically application the aforementioned accord to the folio as the narrator-reader.

Exploratory, playful, participatory: these are the “design-elements” Gins employs to interface with the absorbent anatomy of being-human that she imagines for us. To this account I charge additionally add generosity, as she delivers to us a adaptation of ourselves, and of language, that is aqueous and abundant. The alteration and publishing of The Saddest Thing Is That I Accept Had to Use Words: A Madeline Gins Clairvoyant reflects this generosity, fluidity, and abundance. I’m hard-pressed to anticipate of any added attributes added acute to breed in our present time.

The Saddest Thing Is That I Accept Had to Use Words: A Madeline Gins Clairvoyant is appear by Siglio Press and is accessible online and from indie booksellers.

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