Stephanie
is a poet living in New York City. She has published nine volumes of print poetry and co-authored eleven digital poems. Her files and papers are being collected by the David M. Rubenstein Rare Book And Manuscript Library at Duke University.
Key
In this poem, Stephanie refers to Simone Weil’s notion of “reading,” one of the ways we are physically imbricated in knowing. Stephanie shares Robert Kemp’s wish. Kemp speaks, as Thomas R. Nevin says, “for all Weil enthusiasts in the remark, comme on voudrait la rappeler sur cette terre, pour lui dire qu’on l’aime, et pour lui demander certaines précisions.”
SOUL LEARNS EVERYTHING FROM BODY
The bird forgets,
but the trap does not. Cassandran,
her harsh voice worrying, probing: If any
human being show need of any other, a little
or a lot, why does the latter run away?
I have much experience, on one side or the other.
Everything from the body:
a boy
running down the field can read so well, his hands
are unimpeded, have already caught the pass;
reached out before
he saw. Finally,
not to read at all: hands alone
fly up, whole body shaping the air, weaned, immediate.
The soul learns turning,
inclination,
fatigue:
to be worn down.
The body,
unastonished by reduction; it feels
what can be shown:
that there exist remarkable
leafless trees of blossom,
tiny
back and forth of almond, long, touched, wands of pink
that shudder down their whole length and are blown to the pavement
almost at once—
New contributions:
Chris Kraus (Los Angeles): Simone Weil. Two Days in February
THE PAPIER collé AS PART OF THE »PAPIER collé SIMONE WEIL« WE INVITED WRITERS AND ARTISTS TO SHARE THEIR IDEAS ON SIMONE WEIL. SOME BITS AND PIECES, SOME MATERIAL, THOUGHTS… TRACES AND LINES THAT REVOLVE AROUND THEIR READING OR RESEARCH. LIKE A SUNDAY STROLL THROUGH AN IMMATERIAL-IMAGINATIVE LIBRARY. LIKE A BORGES READING MACHINE THAT UNENDINGLY
Mark von Schlegell: Simone Azul
THE PAPIER collé AS PART OF THE »PAPIER collé SIMONE WEIL« WE INVITED WRITERS AND ARTISTS TO SHARE THEIR IDEAS ON SIMONE WEIL. SOME BITS AND PIECES, SOME MATERIAL, THOUGHTS… TRACES AND LINES THAT REVOLVE AROUND THEIR READING OR RESEARCH. LIKE A SUNDAY STROLL THROUGH AN IMMATERIAL-IMAGINATIVE LIBRARY. LIKE A BORGES READING MACHINE THAT UNENDINGLY
Thomas Hirschhorn (Paris): SIMONE WEIL WORKS
OVERVIEW Since 2019 at the Engadin Art Talks, Thomas Hirschon has intensively engaged with Simone Weil. The denʞkollektiv thanks Thomas to present seven art works: (1) Me, She, (2) Simone Weil Map, (3) Médaillon, (4) Cover for ‘Die Weltwoche’, (5) My Dreams, (6) SW Annabelle, and (7) Eternal Ruins. For more information visit: www.thomashirschhorn.com (1) ME,
Isabella Schwaderer (Kiel): Cutting Up and Assembling. La pesanteur et la grâce Revisited.
Isabella is a lecturer in Religious Studies at the University of Kiel. She was previously lecturing at the universities of Würzburg, Erfurt and Jena. She studied Greek and Latin Philology as well as Philosophy in Würzburg, Thessaloniki and Padova. She received her MA in Ancient Greek from the University of Würzburg and her PhD in
Luca Pellarin (Erfurt) & Thomas Sojer (denʞkollektiv): Reading Pierre-Joseph Proudhon – Franz C. Overbeck and Simone Weil in catalogical notes.
The French political theorist Pierre-Joseph Proudhon (1809-1865), the German theologian Franz C. Overbeck (1837-1905), and the French philosopher Simone Weil (1909-1943) share an interest in rethinking socialism against the backdrop of a sharp criticism of Christianity. Proudhon lays the foundation of this philosophy, leaving Overbeck and Weil to carry on his heritage, albeit in opposed
Book Launch of ‘Effort and Grace’ by Simone Kotva
For activity to be passive, it must receive something from beyond itself; it must be in excess of itself. By the spiritual I mean this fact of experience in excess of voluntary effort, of which exercise is a part. This distinction, it seems to me, is crucial. To a large part, the confusion which surrounds