– In relation to poetry and language, the liminal space is one of great potential; indeed, in terms of all human experience, this space serves as a “Third area” linked to creativity and imagination, a place of ?play? where the rigid categories of social meaning can be made more malleable, flexible, and personal. D.W. Winnicott dubbed this third area the ?potential space,? ?an intermediate area of experiencing to which inner reality and external life both contribute . . . A resting-place for the individual engaged in the perpetual human task of keeping inner and outer reality separate yet inter-related?
– Some [of the poems] explore or ?represent? liminal experiences; some are works which use language, rhythm, tone, images, metaphors, and allusions to articulate a dimension of meaning beyond (before/co-current with) symbolic denotation. Some are examples of both.’
– Language fails us, again and again, but we desire its victory (or we capitulate, sadly); but language?s failure is the motivation for a return to a ?third? space, a ?potential space? a thetic border-land, an in-between from within which we strive to make language meaningful again
-Ciaran Carson’s “Snow”
-Mary O”Malley’s “Calypso”
-Aifric Mac Aodha’s “Syrinx Escape” & “The Capture of the Syrinx”
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