Kelso (2009, p 105):
"she considers poetry to be a productive even carthartic linguistic practice because it foregrounds, rather than disavows, the pleasure of language production, especially when it comes to the indeterminacy of meaning. Unlike languages and discourse of truth, poetry enjoys the free play of words and their meanings, refusing to tie down one to the other. For irigaray, poetic discourse has the potential to explore alternative meanings and pleasures that may begin to speak the unspeakble desires of "woman" and her body. This potential arises because in analytic and poetic discourses the emphasis is not upon the production of a unitary, uncontestable, reflection of some pre-existing "truth".
Kelso sourced these thoughts from Irigaray's "The forgetting of air in Martin Heidegger" (1999). I haven't read this but found a sense of kinship with Irigaray's mode of writing (love discourse) in "The marine lover of Friedrich Neitzsche". Her polysemantic poetic writing did indeed capture the unspeakable ... and allowed for an "I/You" kind of valuing of text and read.
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