Dear Rick,

I think "elide" has more of the connotation of "suppress" than does
"omit." But in the sense of the white spaces and the sudden
juxtapositions, perhaps your use leads to better understanding of
"Paris." It is long and complex, and I think it will take a great deal
of new study to understand. I loved it, but French is difficult for me,
so I spent an enormous amount of time in translating as I read. I need
to go back to it many times to think it through.

Cyrena is great; her work is always meticulous and incredibly
knowledgeable, and--as you see--she does her homework. I think the part
about "holophrase" is especially illuminating.

>>> Richard Seddon 11/26/11 10:54 PM >>>

Rereading Dr. Pondrom*s article I was struck by these words concerning
*Paris*, *and to elide that which escapes language*. Not being the
brightest bulb in the box and trying to understand this I substituted
*omit* for *elide* and was faced with Imagism. In other words,
sometimes an idea or fantasia cannot be given in language but can be
prompted from the reader*s mind by powerful words and phrases. The Image
eludes language but is invoked by language.

This is what TSE did with *The Waste Land*, what HD did with *Oread*,
what Pound did with *In A Station Of The Metro* and what Williams did so
masterfully in *The Red Wheelbarrow*.

I am definitely going to have to read *Paris*.

Rick Seddon