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QUEER (A)EDI-(M)OLOGY: ON CALLIMACHUS’ AETIA PROLOGUE
Published online by Cambridge University Press: 22 June 2022
Extract
In the prologue of Callimachus’ Aetia, every single word opens up a wide, virtually boundless spectrum of suggestions, intimations, and evocations. In this paper, I heed Callimachus’ formal intricacies, joining the decoding game that has vexed and entertained ancient and modern readers by homing in on the para-etymological potentialities of the verb ἀείδω (‘I sing’). I wish to explore the possibility that, in this architext of Callimachean programmatics, ‘singing’ may amount to a sort of aesthetic satisfaction in self-deprivation, with formal elements mobilizing a spiral of eating and non-eating. This exploration offers the opportunity to think about Callimachean ‘singing’ as a challenge to conventional notions of human subjectivity and to the very idea of poetic immortality, expressing something like the wish of a poète maudit not for monumental permanence, but for a looping insistence. We may then see Callimachean aesthetics as less rarefied, aristocratic, and decorous than it is usually made out to be. In the recalcitrance, the unruly looping of poetic form, we may glimpse an aesthetic sense that is more subversive, shaped by temporal stuckness, a rejection of fulfillment, and a hunger that rejects the lack that is satisfaction. I first locate the possibility of an alternative para-etymologizing of ἀείδω within the prologue's discourse of corporeality, in its precarious opposition of thinness and fatness. I then search the epigram dedicated to Heraclitus and the Hymn to Demeter for traces of the restless aesthetics inherent in this para-etymologizing, which I will ultimately connect with queer temporality. The Callimachean hymn invites us to see the poetic persona of the Aetia's proem in a new light—as a counterpart of the starving binge eater Erysichthon, Demeter's enemy, who is barely distinguishable from the goddess herself.
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- Copyright © Ramus 2022
Footnotes
Many thanks to Helen Morales, Ramus’ anonymous readers, and, as always, to Alex Press.
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