THE MODIFICATION OF THE FUTURE

And the meridian of the present

For a new Poetik

Im contrast to the Prosa is possible for Lyrik, if a last event of used world, which, are not yet concluded end of a life or a

culture; because the most important perspective of the poem are time from the view of love and death, how a widerschein of

the getting over and getting over messenger from future world expecting us! (" is all death in front "!) Hegels owl of the Minerva

does not apply to it. The inspection is the being, passing, insignificant one.

Lyrik alone deals with the coming, death as with resembling. It brings the illusion of the " fixed world " with the help of the

metaphor, the language play, to the interlinear version, the dream dictations, the opened memory to decaying, removes the

illusion of the time.

Death as gate, flashing at the moment the opening is important, and thus the Metapoesie. The organization of a poem tape

needs today a location beyond the time, must from the time river be lifted out, in order to be able itself to detect it and.

I call brain syntax the emergence place of a new language: like also otherwise now in the late one completely immateriell the

environment become, where the formula meets better, as the word or the metaphor. It to catch up is possible only with a

change-over switch, which can convert cosmic information itself-knowing to the incident. This change-over switch is the

certified controlled and mediale (thus apriorische) dictation, like also with inventions.

A strange gift, which gives us our waiting or wende-Zeit, is crucial. It is a collective dying process paradoxically however a

dying process of full hopes. Time for Lyrik thus, like the time of the romance after 178.

The lyric feeling, the even, painfully exactly registers the other one in the writing the new tendency. He does not know whether

he is dead or lives. And detects with the other view, how a Wiedergaenger, which beyond the ontologischen censorship (at this

boundary is the soul police psychiatry and the character assassination) for characters from the forbidden country of a new, long

due paradigm and conception of the world, to us come! None sees this border crosser; that terrible experience from the

childhood emerges again the fear any longer to be seen, to be perhaps already dead and a ghost.

Possibly this halluziniert in us into " historical " coma what makes a poem possible today: and this is as in the dream, as remain

in the life in the schwebe; nobody can decide, what is " real ".

That experience, of which Thanatologie becomes as secured assumed that a panorama panoramaschau uses, a type court over

the own life in the death process, today for deeper sensitivity generally.

For the recorder of these lines this court (with materials from own experiencing and of friends) in a dynamic action becomes

and as visible in an unconscious dictation as text and in the gap of the metaphors recognizably.

With the knowledge of the end the writing acquires thus only its existence. The life victim of writing is already a small death.

Carrier of the absence of the life is the character. Ernst of the situation makes that one, which uses this, only reliable.

A translation of our own absence in the historically late one, the feeling that we are absent ones and Posthume, is today the

basic feeling of the poem. It solve itself only as process in the time. Resort and consciousness of the debt. A process, which

already began 1950 with Becketts " Molloy " in the literature.

The the other world of the time of each text and fragment from the other zone of possibilities beyond death is fruitful: Mirror of

the unreal one, which we must bear today. And such a Fiction is more real than the banknote, which is called lives.

Already Rousseau told in its " Les Confessions " of the hypothetical point of view of own death out. And regarding the recent

court. And with Hegel it is called " God is death "!

In the today so generally experiencable coma thus that panorama panoramaschau occurs, where the whole life by-pulls again

like one court day during the dying process; and all this in a timeless rate; one second are thousand years.

A time zeitparadoxon opens: as can a abeschlossenes life, which leads in a panorama panoramaschau to the judgement and

court day across itself, enters, a time perspective with surprising moments to have. Everyone receives thereby an infinite

perspective, everything NOW opens in the uncanny. Because it is not so that lyric I now the nothing more experiences, he

deeply felt only quite different: Future of the past during the process. Thus consciousness to have already once lived, and meets

here, also in the poem already once to be!

A higher level, which makes the outline possible: The in-unity-linkage and overlap of many life perspectives, in the boundless,

procure the enormous memory of the language with its apperzeptiven and apriorischen forms.

Also there is a permitted trick to be able to be remembered i.e. the Unsterblichkeit of the personnel personalpronomina of the

language, which carry consciousness, further than the boundary or our historical consciousness of horizon it to a non-standard

lifetime actually permit. This horizon is, as we saw to correctly play come to its boundary, which must be skipped, in order that

score, which becomes already in fragments " input " today, in pure ekstatischer inspiration. Thus the open-endedness of the

future is introduced concluded past to the closed, apparently, with the bitter result and judgement: that we us this life robbed,

because we let it rob us. (" does not cry nevertheless, we come all again " - at least in the poem!) *** TRANSLATION

ENDS HERE ***

Einzig jene Momente des Traumes, oder das andauernde Bewußtsein auch im Alltag, da und zugleich nicht da zu sein,

abwesend, und doch da, wie im Zeitstillstand bei Todeserlebnissen, in der Revolution, und jetzt eben bei diesem "Unfall" einer

immer intensiveren Auflösung der "festen Welt", wie ein vorgezogenes Sterben, das jeder einzelne mitmacht, ist wie die letzte

Chance beim eigenen wirklichen Tod, die auch dieses Bewußtsein des posthistorischen Gedichtes ermöglicht, die tiefste

Erfahrung, erst am Anfang zu sein, also auch in der eignen Vergangenheit das prickelnd Offne zu finden, und nicht nur in dem

was kommen wird.