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Jon Clay – Order and Chaos in Samuel Beckett’s ‘Not-I’ and J. Order and Chaos in Samuel Beckett’s Not I and J. This is, in particular, characteristic of modern literature and modern poetry. In a violently poetic text, Lawrence describes what produces poetry: people are constantly putting up an umbrella that shelters them and on the underside of which they draw a firmament and write their conventions and opinions.

Deleuze and Guattari, great sobriety and control in their uses of language but who nevertheless draw chaos into their works with enormously powerful effect. Prynne’s poetry sequence Not-You works in rather different ways but produces somewhat similar affects. Divided into three sections, marked by changes in consistency of form, the sequence is, in many respects, tightly ordered. There is an opening to a chaos of enunciation that refuses any contextual markers that might give a reader purchase on signification. The impossibility of interpretation and assimilation by a reader indicates that the sensation of the industrial produced by the opening lines of this poem is what Deleuze and Guattari call a percept.

Concentrating on the text for the moment, what I notice first of all on a graphological level are the ellipses that do not mark omissions but rather breaks in the movement of the text. These breaks do not slow the text down, but instead produce rapid shifts, implying a search for and a grasping after language. The ellipses are miniscule hesitations, flickers in the movement of the language as it attempts to produce expression. Here there is a fracture between the sense of the brain as the seat of control and as the object of control, a fracture that is embedded in certain difficulties of the language itself and of everyday forms of expression. It lies rather in the event itself. It is an infection of chaos that comes neither from inside nor outside.