Perspectives on a winged fiction or the method as butterflying. Method, criticism and poetics in the rhythm’s notion

Abstract

In his/her way, the researcher is led by the hand by a dominant passion in an endless journey that we will can call a method.

When an indefatigable search mobilizes poetic or critical writing, perhaps we are in front of what we recognize as a poetic or a method: the insistence of a form and a movement, a rhythm. And to make is the real name of that obstinacy. Criticism, like poetics, requires thinking in terms of what has not yet been done or thought, and escapes any immobilizing will.

What do poetics and method, fiction and theory have in common? Do their limits touch each other? If writing only begins where it “let to define what has already been defined” (as Meschonnic suggests), it’s because it has been able to suffer in language the mystery of an unknown form-sense. This insistence on the postponement of the end is nothing more than the “custody of an unappropriable” (according to Agamben), that outlines a system there: poetics or method.

And if (as Didi Huberman points out) a question of method is also a question of tempo, it’s also a question of rhythm: the tracing of a form-meaning that is articulated as a legible form in movement.