Three Poems

In her collection of poems Three Poems, Hannah Sullivan reflected the rhythm of the hidden life of small things, the human cross sounds, subjective sensory experiences in everyday attitudes, some interactions of several destinies, unfinished tales and aesthetic impressions of New York City. Therefore, Hannah, in her discourse, wanted to present postmodern, particular and marginal images in the social context, which included hyperreal signs or active simulacrums. So, these wide, multiple states reminded us of the writing of Lyotard, Baudrillard and Gianni Vattimo, that the speaker confirmed the relations between art and the effect of reality on the cognitive world. Additionally, she went beyond the physical city towards the deep figural layers of the same city in consciousness, unconsciousness and the cross particular poetic photographs or scenes which were transformed in the textual and inter-textual implications. So, Hannah reminded me also of Eliot's imaginary world, that he discovered the returning of the characters of old cities in London.

On the other hand, Hannah's poetic discourse was based on two basic roles; the first is the speaker's role as a watcher of the liquid signs in her life in a social and metaphorical reality which included market powers, media news, the relation between man and space, insects, virtual reality, computer games, literary conversations, intellectual references, the renewed impact of the presence of small things and desires. The second role was the speaker as a performer, that she confirmed also the modern sense of subject who recorded all her impressions in a new aesthetic texture which reflected the subjective side of the cognitive internal world, for example, she remembered the ancient characters of Noh theatre beyond her friend. Also, she implied an image of a spectral square in the sky or the renewed images of 1960s cinema. In another context, she returned to the ancient picture of the Sirens in Homer's The Odyssey, but beyond the death or the spectral life of a woman. Therefore, the speaker recorded the multiple and interacted images and also played her subjective creative role in the poetic interpretative context.

Finally, Hannah reflected the cultural power relations behind the poetic discourse and the types of communications that she referred to the power of the market in a graphic, cubist or hyperreal context. Also, she reflected the power of the gift according to Derrida within the liquid sounds and specters around her mind and her creative internal contradiction.