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In these 2 volumes Enrique gathers fresh voices and sharp tongues
to speak of the art of Tarot as the art of living magically.
Forty-seven tarot luminaries (readers, historians, philosophers,
magicians, and scientists alike) gather here to offer unique
perspectives on what we can think of as divination with bones,
human bones. Artists, deck creators, and modern-day neo-platonists
follow Enrique's lead, letting themselves be enchanted by the piper
at the gate of games. Some of the central questions that Enrique
deals with are: do we read for the symbol, or the image? Do we read
for the narrative that the cards create or their potential for
transformation? Do we read for the plot, the poetry, or the formal
properties? We find Enrique holding the torch and asking everybody
the same questions: how do we experience the tarot? Through
symbolic readings or through interacting with the image? While it
is clear that he goes with the latter, he gives everyone a chance
to state their preferences. But he doesn't stop there. He wants to
see what the argument is for such preferences. What are the
motivations in considering where images take us? How do the images
do that? Why do we go to fortunetellers? My own contribution to
this is to suggest that we read cards for the magic of narrative.
We go to fortunetellers to see others play with our lives. Here are
47 of them. -- CAMELIA ELIAS, "HE RECO ME: ENRIQUE ENRIQUEZ'S
POETICS OF DIVINATION"
In TAROLOGY Enrique Enriquez sees the Tarot de Marseille through
the prism and science of pataphysics, the science of imaginary
solutions. By following into the footsteps of Oulipian writers, he
applies the idea of constraint and the rule of restriction to the
surprisingly visual and gestural nature of Tarot. The result is not
only illuminating but also enriching for all those interested in
the history of Tarot and its divinatory practices. Enriquez
develops a whole new method of reading cards, which combines
careful considerations of chance with choice. By using a
phenomenological and constructivist approach to the cards, Enriquez
shows how the Tarot de Marseille speaks poetry and thus reveals
some of our deepest concerns with language, with what we can say
when we are at a loss for words. --- "In TAROLOGY, going from
pataphysics to poetry, Enrique Enriquez PERFORMS tarot in a way
that is marvelously free of cultural preconditioning to the
workings of myth and symbol, while at the same time proposing
following the rules of 'watch and learn', 'keep it simple', 'stay
on track', 'be surprised', 'be fearless', and 'let the image talk
the walk'. This is no small achievement." (Camelia Elias, Professor
of American Studies and Tarot de Marseille Reader)
"Can we know language? Or is language a game resisting knowledge?
And what magic do we find in the words that we find within words?
'linguistick-uistickling' is Enrique Enriquez's follow up on his
previous work with the poetics of the Tarot. But here he is more
spell-binding. This is a truly modern grimoire that discloses what
hides in plain site. Our tongues are tickled." -- Camelia Elias,
editorial review. "Halfway between the tongue twister, the riddle
and the jigsaw puzzle (rompecabezas in Spanish), the exercises of
Enrique Enriquez have a wonderfully weird way to travel from the
eyes to the brain and then to the mouth, where finally the
transmutation process is complete at the time of the utterance.
Alchemy of the verb, pure and applied." -- Carlos Soto-Roman
In these 2 volumes Enrique gathers fresh voices and sharp tongues
to speak of the art of Tarot as the art of living magically.
Forty-seven tarot luminaries (readers, historians, philosophers,
magicians, and scientists alike) gather here to offer unique
perspectives on what we can think of as divination with bones,
human bones. Artists, deck creators, and modern-day neo-platonists
follow Enrique's lead, letting themselves be enchanted by the piper
at the gate of games. Some of the central questions that Enrique
deals with are: do we read for the symbol, or the image? Do we read
for the narrative that the cards create or their potential for
transformation? Do we read for the plot, the poetry, or the formal
properties? We find Enrique holding the torch and asking everybody
the same questions: how do we experience the tarot? Through
symbolic readings or through interacting with the image? While it
is clear that he goes with the latter, he gives everyone a chance
to state their preferences. But he doesn't stop there. He wants to
see what the argument is for such preferences. What are the
motivations in considering where images take us? How do the images
do that? Why do we go to fortunetellers? My own contribution to
this is to suggest that we read cards for the magic of narrative.
We go to fortunetellers to see others play with our lives. Here are
47 of them. -- CAMELIA ELIAS, "HE RECO ME: ENRIQUE ENRIQUEZ'S
POETICS OF DIVINATION"
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