This book is an invitation to read poetry. Simon Critchley argues that poetry enlarges life with a range of observation, power of expression and attention to language that eclipses any other medium. In a rich engagement with the poetry of Wallace Stevens, Critchley reveals that poetry also contains deep and important philosophical insight. Above all, he agues for a 'poetic epistemology' that enables us to think afresh the philosophical problem of the relation between mind and world, and ultimately to cast the problem away.
Drawing astutely on Kant, the German and English Romantics and Heidegger, Critchley argues that through its descriptions of particular things and their stubborn plainness - whether water, guitars, trees, or cats - poetry evokes the 'mereness' of things. It is this experience, he shows, that provokes the mood of calm and releases the imaginative insight we need to press back against the pressure of reality. Critchley also argues that this calm defines the cinematic eye of Terrence Malick, whose work is discussed at the end of the book.
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写得很一般。倒是提到了史蒂文斯的诗歌（以及广义的现代诗歌）并举了平反与非凡、现实与想象、琐事与玄思的对立，所以他说我们虽然不能从诗歌中辨析出经典的哲学文本，但是这是诗意观念论的延伸。后记关于马力克的《细细的红线》的思考接近正文一小半的篇幅，写得更清楚。
评分Stevens's poetic antipoetry, Blanchot's two slopes, and Malick's film
评分写得很一般。倒是提到了史蒂文斯的诗歌（以及广义的现代诗歌）并举了平反与非凡、现实与想象、琐事与玄思的对立，所以他说我们虽然不能从诗歌中辨析出经典的哲学文本，但是这是诗意观念论的延伸。后记关于马力克的《细细的红线》的思考接近正文一小半的篇幅，写得更清楚。
评分Stevens's poetic antipoetry, Blanchot's two slopes, and Malick's film
评分写得很一般。倒是提到了史蒂文斯的诗歌（以及广义的现代诗歌）并举了平反与非凡、现实与想象、琐事与玄思的对立，所以他说我们虽然不能从诗歌中辨析出经典的哲学文本，但是这是诗意观念论的延伸。后记关于马力克的《细细的红线》的思考接近正文一小半的篇幅，写得更清楚。
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