Geraldine Finn: One Time Alone - Improvisation Takes Place
Geraldine Finn
The text was orignally composed for
The Serbian music/ology journal New Sound
1. One time alone Improvisation Takes place
Lays hold of with the hand(s) Or other parts of the body Or with any instrument
Grasps seizes Captures catches
By pursuit Or surprise
Captivates Wins Gains
(As)
Take it between Your finger and thumb
Take it up With the tongs
Take the bull By the horns
Deuce Take it
Take the bit Between your teeth
Take a fortress By storm
Take the odd trick
Take £40 a week Take the biscuit Takes my fancy 1
2. Improvisation Takes Place
There
Where there was No place
U-topia
3. Here There Where there was
Where there is No place
Part of space Occupied By person or thing 2
Improvisation Takes place
One time alone
Seizes captures Catches grasps
Lays hold of with the hands Or other part of the body
Arms legs teeth feet lungs Lips larynx throat tongue
Improvisation Captivates Wins
Gains Place There
There Where there was No place
Place of improvisation Improvisation of place
Always already a trace Always already displaced
Giving place To the invention Of the other 3
To come
Unforeseeable
In the space Between
One trace And An other
4. At this very moment In this place Here I am 4
Improvising
With a pencil
Already a trace Already displaced
Seeking my place Of improvisation Of place
In response To the call Of the other
Not speaking Writing reciting From an already identifiable place 5
Feeling my way Here
Here on Off the page
With a pencil Toward an addressable thou 6
Toward an addressable Here and now 7
In words In writing In music In speech
With no recipes And no nets
Without a model Without direction Without a prescriptive form 8
Poetry Philosophy Music
Writing Speech
Composition Analysis Performance
Theory Theatre Song
Neither One All
None And Other
One time alone Destined For the other
5. The most difficult thing Is the invention of the tone
And with the tone The scene that can be staged
That you That we
Can let be staged Here
Here on Off the page
The pose that adopts you (me) As much as you (I we) adopt it 9
The tone being precisely that Which establishes the relation 10
It isn’t the content It’s the tone
Everything is summoned From an intonation
And even earlier still In what gives its tone To the tone
A rhythm
(One time alone)
I think that all in all It is upon rhythm That I stake everything 11
6. One time alone Circumcision Takes place 12
It’s all there In six words
And the space Between
Intonation Rhythm Image Idea
Content Context Form
Like the sound of the sea Deep within a shell 13
What underlying scansion Of the world Does it embody 14
One time alone Circumcision Takes place
Giving place
To the trace Of the other To come
There Where there was
Where there is No place
U-topia What reading Writing Speaking singing Citing re-citing
Will ever make it heard 15
In a word
No pasaran
Shibboleth For Paul Celan
Someone who Overarced by stars That are human handiwork
And who shelterless In this till now Undreamt of sense And thus most uncannily In the open
Goes with his very being To language
Stricken by And seeking Reality 16
7. Landscape with urn beings Conversations from smokemouth to smokemouth.
They eat the bedlamite truffle, a piece of unburied poesy, found tongue and tooth.
A tear rolls back into its eye.
The orphaned left half of the pilgrim shell – they gave you it, then trussed you up – illumines the space and listens:
the clinker game against death can begin.17
One time Alone Improvisation
Takes place Makes place
There
Where there is Where there was
No place
8. The reader too Must improvise 18
hör dich ein mit dem Mund
Hear deep in With your mouth 19
Take breath And read it With the ears 20
Listen with lips and limbs And throat and tongue
Absorb its movement 21 With larynx and lungs
What underlying scansion Of the world Does it embody
Speak you too, speak as the last, say out your say.
Speak – But don’t split off No from Yes Give your say this meaning too: give it the shadow
Give it shadow enough, give it as much as you know is spread round you from midnight to midday and midnight.
Look around: see how thing all come alive – By death! Alive! Speaks true who speaks shadow.22
Speaks true Who speaks Shadow
Place of improvisation
Always already Displaced
Improvisation of place
Always already A trace
Which does not belong 23
No more sand art, no sand book, no masters. Nothing on the dice. How many mutes? Seventeen.
Your question – your answer. Your song, what does it know Deepinsnow, Eepinnow, E – i – o. 24
9. The Gardens of Sampson and Beasley 25
Under Orion’s starry sky
I lie in the moonlit garden
Wondering where to cast my eye
For all that I see is heaven
Oh why does it have to end?
I wish we could still pretend
You’re near – just around the bend
In the gardens of Sampson and Beasley
Last time we were in this place
Your face had a certain sadness
And oh how I’ve wondered since
What you’ve done with all that sadness
Oh why did it have to end?
I wish we could still pretend
Our love was around the bend
In the gardens of Sampson and Beasley
Under Orion’s starry sky
I lie in the moonlit garden
Wondering when I close my eyes
If I’ll ever find my heaven
Oh why will it never end?
These days where I still pretend
Our love – just around the bend
In the gardens of Sampson and Beasley
10. There is no one
Improvisation
Of rhythm
Of tone
Of place
There is
No place
U-topia
Which is not
Always already
A trace
Displaced
Of an other
Improvisation
Of place
We must begin
Wherever we are
Wherever we are
In a text
Where we already
Believe ourselves
To be 26
Under Orion’s starry sky
Overarced by stars
That are human handiwork
In the gardens
Of Sampson and Beasley
Perhaps
Maybe
Or not
As the case
May be
11. The essential thing
Is to set the song in motion
As a graft
[Shoot or scion
Inserted in a slit of another stock
From which it receives sap
Piece of transplanted living tissue
Process of grafting
Place where graft is inserted
Hard work] 27
And not
As a meaning
A work
Or a spectacle 28
Poems in this sense too
Are underway
They are making toward something
Something standing open
Occupiable
Perhaps toward an addressable Thou
Toward an addressable reality 29
Paths on which
Language gets a voice
Creaturely paths
Sketches of existence
Perhaps
A sending oneself
Toward oneself
In search of oneself
A kind of homecoming 30
12. Perhaps
Maybe
Or
Not
That is
As the case
May be
There is
No place
U-topia
Part of space
Occupied
By person or thing
Like
Home
Your place
Or mine
Always
Only
A trace
Of improvisation
Of place
Remains
In the gift
Of the other
13. Meanwhile
All across Rwanda
Murder murder murder murder
Murder murder murder murder murder … 31
And this too is improvisation
Place of improvisation
Improvisation of place
Eight hundred thousand
Killed in a hundred days 32
The most efficient mass killing
Since the atomic bombings
Of Hiroshima and Nagasaki 33
The only place In Rwanda
Where as many as a thousand people
Who were supposed to be killed
Gathered in concentration 34
And survived
Was the four-star luxury
Hôtel des Mille Collines
In the capital Kigali
Thanks to the guile
Of its caretaker manager
Paul Rusesabagina
Who bartered fine cheeses
Wine cognac and beer
To keep the killers at bay 35
“Each time
They menaced the hotel
He called the army officers
He opened the cellars
And he distributed the wine
And the champagne” 36
“What Paul did was extraordinary
He gave us the hotel for free
When the water in the pool ran out
He sent a lorry to get more water
I don’t know where from” 37
“I was using drinks
To corrupt people” 38
He said
And laughed
Because the people
He was corrupting
Were the Hutu Power leaders
Génocidaires
And what he meant
By corrupting them
Was feeding them liquor
So they wouldn’t
Kill the refugees
Under his roof
Paul sought to save
Everybody he could
And if that meant negotiating
With everybody who wanted to kill them
Génocidaires
So be it 39
“Everybody came
I had what they wanted
That was not my problem
My problem was
That nobody should be taken
Out of my hotel” 40
And nobody was
“Nobody was killed
Nobody was taken away
Nobody was beaten” 41
“What happened in Rwanda
Is now happening in Darfur
In the Congo
In all these places
They are butchering
Innocent civilians” 42
Gishyita
He explained
Had killed
Its people already
So there was peace 43
14. Improvisation
Takes
Place
One time
Alone
There
Where there is
Where there was
No place
U-topia
15. There is no place
Il n’y a pas
That is not
A trace
Of an improvisation
Of place
Remains
In the gift
Of the other
A-venir
The future
To come
16. There is no improvisation
Il n’y a pas
That is not
Of a place
Displaced
Response
To the call
Of the other
Which is
Not one
The call of the other
Is the call to come
And that happens
Only in multiple voices 44
What reading writing
Speaking singing
Citing re-citing
In-citing
Will ever make it heard
The braided polyphony
Which is coiled up
In every voice 45
In every word
The music of voices
If there is any
I do not sign it
I cannot precisely
Have it at my disposal
Or in my control 46
I listen to it
It is the experience itself
Of impossible appropriation
The most joyous
And the most tragic
So
Let’s listen 47
17. Lonely Woman 48
18. It is the experience
Of impossible appropriation
The braided polyphony
Coiled up
In the voice
In what is given
In what is heard
It may give rise
To calculation
Representation
Regulation
Imitation
Notation
Pre-scription
Con-scription
In-scription
But in the final analysis
It ceases to be calculable 49
Improvisation
Takes place
But once
‘He also know
That he does not
‘Own’ it himself
Nor ‘invent’ it
But is responsible
To something given
To him’ 50
Es gibt 51
Music
Language
Home
Land
Remains
In the gift
Of the other
Which is not one
Which does not belong
19. There is no one
Improvisation
An inheritance
Is never gathered together
Its presumed unity
If there is one
Can consist only
In the injunction
To reaffirm
By choosing
One must filter
Sift criticize
One must sort out
Several different possibles
That inhabit the same conjuncture 52
Whether we will it
Or not
We are responsible 53
20. There is always
Improvisation
Of both means
And ends
In the space
Between
Experience
Understanding
Desire
What is
And
What is not
To be
Or not
To be
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow 54
Speaks true
Who speaks
Shadow
Which is not one
Which does not belong
Which cannot be settled in advance
The aleatory advent
Of the entirely other
Beyond the incalculable
As a still possible calculus
Beyond the order
Of the calculus itself 55
Beyond the law
Of genre 56
Of names
Without remains
Of gender identity
Nation race
A place for everything
And everything in its place
Speaks true
Who speaks
Shadow
21. One time alone
Improvisation
Takes
Place
Seizes captures
Catches grasps
Lays hold of
With the hands
Arms legs feet teeth tongue
Throat larynx lips lungs
There
Where there was
Where there is
No place
U-topia
22. Ladies and gentleman
I am at the end
I am back at the beginning 57
Seeking my place
Of improvisation
Of place
Not speaking writing re-citing
From an already identifiable place
Feeling my way
Toward an addressable thou
Toward an addressable
Here and now
A trace
Already
Displaced
Remains
In the gift
Of the other
To come
After all
Is said
And done
The end is where
We start from 58
Topos research
By all means
But in light
Of what is
To be explored
In light of
U-topia 59
In light
Of the future
To come
Which cannot
Be settled
In advance
Which cannot
Be settled
Except
By death
That’s life
Improviser
Il le faut
Donc 60
Notes
1. ‘Lays hold of … my fancy’. From the entry under ‘take’ in The Concise Oxford Dictionary (Oxford: Oxford University Press, 1929) pp. 1246-1247.
2. ‘Part of … thing’. From the entry under ‘place’ in The Concise Oxford Dictionary op.cit., p. 870.
3. Cf. Jacques Derrida, ‘Psyche: Invention of the Other’. Translated by Catherine Porter and Phillip Lewis. In Reading de Man Reading, edited by Wlad Godzich and Lindsay Waters (Minneapolis: University of Minnesota Press, 1989): 25-65.
4. Cf. Jacques Derrida, ‘At This Very Moment in This Work Here I Am’. Translated by Ruben Berezdivin. In Re-Reading Levinas, edited by Robert Bernasconi and Simon Critchley (Bloomington Ill: Indiana University Press, 1992): 11-48.
5. Cf. Jacques Derrida: 'I don’t know where I am when I give myself over to operations of this kind. I am there merely as someone who, like others, is seeking his place, and is not speaking from an already identifiable place'. From ‘Dialanguages’. In Points … Interviews, 1974 – 1994, edited by Elisabeth Weber (Stanford, CA: Stanford University Press, 1995): 132 – 155, p. 135. Interview with Anne Berger, originally published in Fruits 1 (December 1983). ‘Here is how the interview was presented: “This conversation took place on September 27, 1983. It was understood that Jacques Derrida would improvise. Nothing was prepared and nothing has been reworked. We wanted to leave untouched what was a present of friendship”’. Cited in note to 'Dialanguages’ in Points …, p.467.
6. Cf. Paul Celan: “Toward what? Toward something standing open, occupiable, perhaps toward an addressable Thou, toward an addressable reality”. From his ‘Speech on the Occasion of Receiving the Literature Prize of the Free Hanseatic City of Bremen’ (1958) (hereafter ‘Bremen Speech’). In Selected Poems and Prose of Paul Celan. Translated by John Felstiner (New York and London: W. W. Norton, 2000): 395-396, p.396.
7. Cf. John Coltrane: “I want to get to a point where I can feel the vibrations of a particular place at a particular moment and compose a song right there, on the spot – then throw it away.” (Juan-les-Pins, Côte d’Azur, July 27, 1965). Cited by Ashley Kahn in A Love Supreme. The Story of John Coltrane’s Signature Album (New York and London: Penguin Books, 2002), p.172.
8. Cf. Jacques Derrida: “Writing of the singular voice. Type, since there is inscription, typtein, timbre and tympanum, but without a type, that is to say, without a model, without a prescriptive form, types without “type”, and without a stereotype.” From ‘Voice II’ in Points … op. cit.: 156-170, p. 165. Correspondence with Verena Andermatt Conley, originally published in bilingual edition in boundary 2 (Winter 1984).
9. ‘The most difficult … adopt it’. Jacques Derrida (with alterations and additions), ‘Heidegger, the Philosophers’ Hell’ in Points … op. cit.: 181-190, p.188. Interview with Didier Eberon, originally published in Le Nouvel Observateur, November, 6-12, 1987.
10. ‘The tone … the tone’. Jacques Derrida, ‘The Spatial Arts: An Interview with Jacques Derrida’. In Deconstruction and the Visual Arts, edited by Peter Brunette and David Wills (Cambridge: Cambridge University Press, 1994): 9-32, p. 21.
11. ‘Everything … everything’. Jacques Derrida, Monolingualism of the Other: Or, The Prosthesis of Origin. Translated by Patrick Mensah (Stanford: Stanford University Press, 1998) p. 38.
12. Jacques Derrida, ‘Shibboleth. For Paul Celan’. In Word Traces: Readings of Paul Celan. Edited by Aris Fioretos (Baltimore: John Hopkins University, 1994): 3-72, p. 3.
13. ‘Like the sound … shell’. Jacques Derrida, Mémoires for Paul de Man. Translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava,, and Peggy Kamuf (New York: Columbia University Press, 1989) p.155.
14. ‘What underlying … embody’. Dennis Lee, Body Music (Toronto: Anansi, 1998) p. 206.
15. Cf. Jacques Derrida: “Forever unable to saturate a context, what reading will ever master this ‘on’ of ‘living on’?” From ‘Living On/Borderlines’ in Deconstruction and Criticism, edited by Harold Bloom et al. (New York: Seabury Press, 1979): 75-176, p. 76-77.
16. ‘Someone who … reality’. Paul Celan, ‘Bremen Speech’ in Selected Poems and Prose, op. cit. p. 396.
17. Paul Celan, ‘Landscape’, in Selected Poems and Prose, op. cit. p. 257.
18. Dennis Lee, Body Music, op. cit. p. 205.
19. “Hear deep in/with your mouth”. Concluding lines of Paul Celan, ‘The Shofar Place’ (Die Posaunenstelle). In Selected Poems and Prose, op. cit. p. 360-361.
20. Gerard Manley Hopkins, cited by John Pick in his ‘Introduction’ to A Hopkins Reader (New York: Doubleday, 1966) p. 26.
21. “You have to hear it out loud on the page. You have to absorb its movement with the eye, the inner ear and the body sense at once.” Dennis Lee, Body Music, op. cit., p. 212.
22. From ‘Speak you too’, Paul Celan, in Selected Poems and Prose op.cit. p. 77.
23. “Which does not belong.” Jacques Derrida, ‘Differance’ in Margins of Philosophy. Translated by Alan Bass (Chicago: Chicago University Press, 1986) p. 22
24. ‘No more sand art’, Paul Celan, in Selected Poems and Prose op.cit. p. 251.
25. ‘The Gardens of Samson and Beasley’. Lyrics and music by China Forbes and Thomas M. Lauderdale. Track # 4 on Hang on Little Tomato by Pink Martini, Heinz Records 2004. (www.pinkmartini.com). Unfortunately, I was unable to get permission to include the audio version of this song in my paper for this site. I hope the reader will seek it out for themselves. It was certainly an important part of its inspiration.
26. ‘We must begin…to be’ Jacques Derrida, Of Grammatology Translated by Gayatri Chakravorty Spivak (Baltimore: John Hopkins University Press 1976) p.162
27. From the entry under ‘graft’ in the Oxford English Dictionary.
28. ‘The essential … spectacle’. From Philippe Sollers, Numbers, cited by Jacques Derrida in Dissemination. Translated by Barbara Johnson (Chicago: Chicago University Press, 1981) p.355.
29. ‘Poems…addressable reality’. Paul Celan, ‘Bremen Speech’ in Selected Poems and Prose op. cit. p.396.
30. ‘Paths … homecoming’. Paul Celan, ‘The Meridian. Speech on the Occasion of the Award of the George Buchner Prize’ (1961) (hereafter ‘Meridian’) in Selected Poems and Prose, op.cit.:401-414, p.412.
31. ‘Meanwhile … murder …’. Paul Gourevitch, We Wish To Inform You That Tomorrow We Will Be Killed With Our Families. Stories from Rwanda (henceforth We Wish To Inform You). (London: Picador, 2000) p.133.
32. ‘Eight hundred … days’. Philip Gourevitch, We Wish To Inform You, op.cit. p.133.
33. ‘The most efficient … Nagasaki’. Philip Gourevitch, ‘Preface’, We Wish To Inform You, op.cit. np.
34. ‘The only place … concentration’. Philip Gourevitch, We Wish To Inform You, op.cit. p.134.
35. ‘Who bartered … at bay’. Jeevan Vasagar, ‘From Four Star Sanctuary to Star of Holywood: The Hotel that Saved Hundreds from Genocide’ (henceforth ‘Four Star Sanctuary’). The Guardian, Wednesday, February 16, 2005. (http://film.guardian.co.uk/news/story/0,12589,1415517,00.html).
36. Thomas Kamilindi, radio journalist in Kigali who fled to the Hôtel des Mille Collines on April 14, 1994, one week after the killing began. In Jeevan Vasagar, ‘From Four Star Sanctuary’ op.cit.
37. Thomas Kamilindi, op.cit.
38. Paul Rusesabagina, in Philip Gourevitch, We Wish To Inform You, op. cit. p.127.
39. ‘And laughed … So be it’. Philip Gourevitch, We Wish To Inform You, op. cit. (with additions) p.127.
40. Paul Rusesabagina, in Philip Gourevitch, We Wish To Inform You, op. cit. p.127.
41. Paul Rusesabagina, in Philip Gourevitch, We Wish To Inform You, op. cit. p.134.
42. Paul Rusesabagina, in Jeevan Vasagar, ‘From Four Star Sanctuary’, op.cit. p.4.
43. Pastor Elizaphan Ntakirutimana, in Philip Gourevitch, We Wish To Inform You, op. cit. p. 41.
44. ‘The call…voices’. Jacques Derrida, ‘Psyche: Invention of the Other’, in Reading de Man Reading, edited by Wlad Gadzich and Lindsay Waters, op.cit. p.62.
45. ‘The braided polyphony … voice’. Jacques Derrida, ‘Voice II’ in Points…, op.cit. p162.
46. ‘The music of voices …control’. Jacques Derrida, ‘Passages - From Traumatism to Promise’ in Points… op.cit.: 372-395, p.394. (Interview with Elisabeth Weber, originally broadcast in German translation – intercut with musical excerpts – in a radio program on Jacques Derrida in Hesse, by Hessischer Rundfunk, May 22, 1990; subsequently published in Spuren in Kunst und Gesellschaft, 34-35, October - December, 1990.)
47. ‘I listen … listen’. Jacques Derrida, ‘Passages - From Traumatism to Promise’, in Points… op. cit. p.395.
48. ‘Lonely Woman’, Ornette Coleman. Track # 1 on The Shape of Jazz to Come, Atlantic Recording Corporation, 1959. Again, I was unable to get permission to include the audio version of this song in my paper for this site. I hope the reader will seek it out for themselves. It was certainly an important part of its inspiration.
49. “A date discerns and concerns a place, it is a situation. It may give rise to calculations. But in the final analysis, it ceases to be calculable.” Jacques Derrida, ‘Shibboleth. For Paul Celan’ in Word Traces: Readings of Paul Celan, edited by Aris Fioretos, op.cit. p.52.
50. ‘He also knows … to him’. Martin Williams, liner notes, Ornette Coleman, The Shape of Jazz to Come, op.cit.
51. Cf. Martin Heidegger, ‘The Nature of Language’ in On The Way to Language. Translated by Peter D. Hertz (San Francisco: Harper and Row 1971): 57-108, p.88 and passim.
52. ‘An inheritance … conjuncture’. Jacques Derrida, Specters of Marx. Translated by Peggy Kamuf (New York: Routledge, 1994) p.16.
53. ‘Whether … responsible’. Jacques Derrida, ‘Passages - From Traumatism to Promise’ in Points… op.cit. p.384.
54. ‘Between the idea … Shadow’. From T. S. Eliot ‘The Hollow Men’.
55. ‘The aleatory … calculus itself’. Jacques Derrida, ‘Psyche: Invention of the Other’ in Reading de Man Reading, edited by Wlad Godzich and Lindsay Waters, op.cit. p.341.
56. See Jacques Derrida, ‘The Law of Genre’. Translated by Avital Ronnell, Glyph 7 (1980): 176-232.
57. ‘Ladies … beginning’. Paul Celan, ‘Meridian’ in Selected Poems and Prose, op.cit. p.411.
58. ‘The end … from’. From T. S. Eliot Four Quartets, ‘Little Gidding’ pt.5.
59. ‘Topos research … U-topia’. Paul Celan, ‘Meridian’ in Selected Poems and Prose, op.cit. p.411.
60. “So, one has to, one fails to improvise {improviser il le faut, donc}.” Jacques Derrida, ‘Ja, or the faux-bond II’ in Points… op. cit.: 30-77, p.51.
References
Celan, Paul (2000). Selected Poems and Prose of Paul Celan. Translated by John Felstiner. (New York and London: W. W. Norton).
Coleman, Ornette (1959). The Shape of Jazz to Come, Atlantic Recording Corporation.
Concise Oxford Dictionary (1929). (Oxford: Oxford University Press).
Derrida, Jacques (1976). Of Grammatology. Translated by Gayatri Chakravorty Spivak. (Baltimore: John Hopkins University Press).
Derrida, Jacques (1979). ‘Living On/Borderlines’ in Deconstruction and Criticism. Edited by Harold Bloom et al. (New York: Seabury Press):75-176.
Derrida, Jacques (1980). ‘The Law of Genre’. Translated by Avital Ronnell, Glyph:176-232.
Derrida, Jacques (1981). Dissemination. Translated by Barbara Johnson (Chicago: Chicago University Press).
Derrida, Jacques (1986). ‘Differance’ in Margins of Philosophy. Translated by Alan Bass (Chicago: Chicago University Press): 1-27.
Derrida, Jacques (1989). Mémoires for Paul de Man. Translated by Cecile Lindsay, Jonathan Culler, Eduardo Cadava, and Peggy Kamuf (New York: Columbia University Press).
Derrida, Jacques (1989). ‘Psyche: Invention of the Other’. Translated by Catherine Porter and Phillip Lewis. In Reading de Man Reading. Edited by Wlad Godzich and Lindsay Waters (Minneapolis: University of Minnesota Press): 25-65.
Derrida, Jacques (1992). ‘At This Very Moment in This Work Here I Am’. Translated by Ruben Berezdivin. In Re-Reading Levinas. Edited by Robert Bernasconi and Simon Critchley (Bloomington: Indiana University Press): 11-48.
Derrida, Jacques (1994). ‘The Spatial Arts: An Interview with Jacques Derrida’. In Deconstruction and the Visual Arts. Edited by Peter Brunette and David Wills (Cambridge: Cambridge University Press): 9-32.
Derrida, Jacques (1994). ‘Shibboleth. For Paul Celan’. In Word Traces: Readings of Paul Celan. Edited by Aris Fioretos (Baltimore: John Hopkins University Press): 3-72.
Derrida, Jacques (1994). Specters of Marx. Translated by Peggy Kamuf (New York: Routledge).
Derrida, Jacques (1995). Points… Interviews, 1974 – 1994. Edited by Elisabeth Weber (Stanford: Stanford University Press).
Derrida, Jacques (1998). Monolingualism of the Other: Or, The Prosthesis of Origin. Translated by Patrick Mensah (Stanford: Stanford University Press).
Gourevitch, Paul (2000). We Wish To Inform You That Tomorrow We Will Be Killed With Our Families. Stories from Rwanda. (London: Picador).
Heidegger, Martin (1971). ‘The Nature of Language’ in On The Way to Language. Translated by Peter D. Hertz (San Francisco: Harper and Row): 57-108.
Hopkins, Gerard Manley (1966). A Hopkins Reader (New York: Doubleday).
Kahn, Ashley (2002). A Love Supreme. The Story of John Coltrane’s Signature Album (New York and London: Penguin Books).
Lee, Dennis (1998). Body Music (Toronto: Anansi).
Pink Martini (2004). Hang on Little Tomato. Heinz Records. (www.pinkmartini.com)
Vasagar, Jeevan (2005). ‘From Four Star Sanctuary to Star of Holywood: The Hotel that Saved Hundreds’ in The Guardian, Wednesday, February 16, 2005. (http://film.guardian.co.uk/news/story/0,12589,1415517,00.html).
Geraldine Finn is Chair at the Department of Philosophy at Carleton University, Ottawa, Ontario, Canada.
You can contact her by:
e-mail: gfinn@ccs.carleton.ca