Detour for an other architecture/writing. Return to the dolls' house. But not to the catatonic 'Edwardianism' of the dolls' house as open secret/etymology (homeliness of neat binarisms sitting on the mantelpiece next to the 'irreplaceable porcelain dogs' of rhetorical tradition (Genette); metonymy and metaphor). The dolls' house as simultaneously crypt and network, tracery of writing that disappears as it makes an object on the way to an other.










8 It is only a delightful coincidence, a charming metaphor, that the shape of letters on the page should be of the same lace-like tracery that characterises patterns of thought, the 'luxe à inventorier' (Mallarmé).


9 The other writing might undergo this tracery, might suffer this laciness, but not in order to know the 'house of language' (with its Bachelardian spaces for dream, commonsense and nightmare).


10 No cosey, 'uncanny' rooms known only to the poet. No cute etymologies (the homeliness of origins) and the pseudo-secret that might be unveiled. No Heideggerian dwelling. No topoi (places) no utopics (no-places).







crypt
Archive to begin with; Womanhouse (Judy Chicago1972) WomEnhouse website, Bachelard (on the poetics of space), Heidegger (on dwelling), Derrida (on scribble), Susan Stewart (on longing). Favoured stories: Rumer Godden, three children's books, Miss Happiness and Miss Flower, The Fairy Doll, The Dolls' House. The dolls' house (of language) as contingent effect of conflicting (intersubjective) networks. How to look past words that seem to have the 'destiny of objects' (Cook)? How to look past the sentimentality of narrative closure (lace-like tracery of patterns of thought that must be endured alongside
an other writing)?


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