Infinite Revolutions; or, Fred D’Aguiar’s Imaginative Response to Western Metaphysical Perceptions of Time
This article examines Fred D’Aguiar’s poems “The Trench Revisited” and “Vulture’s Theory of Perpetual Return” in light of their “revolutionary” reliance on Guyanese novelist Wilson Harris’ idea of “infinite rehearsal.” Harris’ theory of infinite rehearsal suggests a revisionary take on Nietzsche’s c...
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| Veröffentlicht in: | URI:https://journals.openedition.org/ces, |
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| Format: | Article ou chapitre numérique |
| Sprache: | Anglais |
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Commonwealth Essays and Studies
2020
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| Online Zugang: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Zusammenfassung: | This article examines Fred D’Aguiar’s poems “The Trench Revisited” and “Vulture’s Theory of Perpetual Return” in light of their “revolutionary” reliance on Guyanese novelist Wilson Harris’ idea of “infinite rehearsal.” Harris’ theory of infinite rehearsal suggests a revisionary take on Nietzsche’s concept of perpetual return, because it confirms the cyclical nature of time, but substitutes the recurrence of sameness for the repetition of différance (Derrida 1982).1 |
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