Infantilisms
Infantilisms concerns the work of serious culture, which for the philosopher Charles Fourier (the presiding spirit here) is deathly. Infantilism, by contrast, is the work of the passions (work as passion, which is true poesis): Fourier's 'little hordes.' Blake had a similar idea of 'infantile' joyousness in doing & making, in revolt against the Iron-Clad Laws. Infantilisms is a poetic refusal of all such Laws & their dour, sarcastic, humourless notaries. At its heart lie feelings of tenderness. A writer can only be a fool according to the exigencies of the epoch they’re bequeathed, but only a child can write poetry. Everywhere the work of mourning has turned to so much schadenfreude: what good’s Literature than can bring only flowers to its own funeral? Do not draw comfort from watching the little children play – join their wild dance!
Louis Armand’s poetry collections include Vitus (2022), Descartes’ Dog (2021), Monument (with John Kinsella, 2020), East Broadway Rundown (2015), The Rube Goldberg Variations (2015), Indirect Objects (2014), Synopticon (with John Kinsella, 2012), Letters from Ausland (2011), Picture Primitive (2006), Malice in Underland (2003), Strange Attractors (2003), Land Partition (2001), Inexorable Weather (2001) & Seances (1998). He is the author of the libretto A House for Hanne Darboven (2021) & novels including The Garden (2020), Glasshouse (2018), The Combinations (2016), Abacus (2015), Cairo (2014), Canicule (2013), Breakfast at Midnight (2012) & Clair Obscur (2011). His critical works include Videology (2015), The Organ-Grinder’s Monkey: Culture after the Avantgarde (2013), Event States (2007), Literate Technologies (2006), Solicitations: Essays on Criticism & Culture (2005), Techne (1997), Incendiary Devices (1993). In 2009 he received honourable mention for original screenplay at the 2009 Trieste International Film Festival. He is formerly an editor of the international arts journal VLAK. www.louis-armand.com
