There is none of the arcane vocabulary of his younger self and, as happens with "
viduity," a term old Krapp is now obliged to look up, Krapp's desire has been displaced onto a language that revolves endlessly around absence, particularly around the metonymic displacement to the "fare well to love" entry on one of the spools.
At once elegant and intense, cascading and smoothly cadenced, discreet and visceral, aesthetically sensitive and beyond aesthetic illusion, Gerard Titus-Carmel's poetic suites--for each section is composed, establishes a microaesthetic tussling with a macropoetics--can leap beyond their own form to deem themselves mere "spittings," antichoking devices, "shameful" openings of language's floodgates--but, then, these characterizations are but metaphors, images, not being itself but the desperate signs of an etre-comme (Deguy) that seems to provide no more than a hollow, bitter achievement over raw, abrasive, exhausting
viduity.