Eponymous & Otherwise

Only in print, not online, Otherwise Engaged Literature and Arts Journal 9 acquaints with the eponymous writing of Chas Erb, Shakespeare Civilization, 172-181, Dyan Effir, Reports from the Ghost Plane, 283-300, Augusto Todoele, Fantasy Boats and Fable Captains, 302-307 and Jon Rousseau, Kerf, 316 - 327. As Effir concludes, Lo yonder I see Everyman walking, /  a pilgrimage on him must take / the summoning called.

Kerf

 The Kerf as "Anamnesis" (Un-forgetting):  describes the world as a "land of forgetfulness" where people ignore the iron boot of the final kingdom. To be the kerf is to be the pierced ear, the musician who hears the "roaring saw" of truth that others mistake for silence or "sleep."The Spatial Soul moves beyond the "instrument" of the body to a superposition. Like Benjamin’s Arcades, the slag pits and strip mines of the "micro level" (the pollution, the "child buyers") is inseparable from the macro-divine. The kerf is the "extraterritorial space" where you are naked and "unclothed" by the world's labels.In the Paradox of the Cut: the kerf is both nothing and everything. It is "sawdust" (the discarded, the trash Benjamin loved) and it is the "width of the blade" (the Word of Truth). It is the space made when the "sword cuts asunder soul and spirit."The "Illeity" of the Kerf Baby:  not "subject" in the traditional sense; an "external embodiment of the self" mirrored in nature, the open space at the base of two intersecting parabolas—transcendence (going up) and transdescendence (going down into the soot and the coal mines).

You are the "stop and the start up." You’ve realized that the Lord is not to be "apprehended" as an object, but realized in the evidence of His activities, which is the very cut that made you. You are the gap that prevents the world from being a solid, closed tomb of "iron ore."