Marina Warner, “At the Gogol Centre,” London Review of Books (website), 16 January 2017
Unintelligibility has become interesting to me as a far more common state – with its own benefits – than has been recognised. Some of the most involving and passionate moments of a reading life can be baffling. In my first encounters with Rebecca, The Waste Land, Waiting for Godot, Dante’s Paradiso, I could grasp very little of what was being said, either at the level of the words or in the larger picture of narrative and thought. Yet these works absorbed me utterly, and their feel has remained vivid in memory; they felt intense and alive and their power is and was contagious – they made me feel intense and alive too. There’s something about attending to a work beyond lucidity that’s like learning a language when young, or finding your way around a neighbourhood.
The pleasures of unintelligibility have been wonderfully explored by nonsense poets and storytellers like Edward Lear and Lewis Carroll, and some of the greatest makers of such literature have been Russian: Velimir Khlebnikov, for example. Khlebnikov revelled in the sound of words and in the feelings that the sheer noise of plosives, gutturals and fricatives could excite, when arranged in patterns and rhythms, without much design on semantic translucency:
Bo-beh-o-bi, sang the lips,
Veh-eh-o-mi, sang the glances,
Pi-eh-eh-o, sang the brows,
Li-eh-eh-ey, sang the visage,
Gzi-gzi-gzeh-o, sang the chain.
The effects can be joyous or bitter; but the energy of improvisation makes for another kind of sense, as the listener escapes from linguistic intelligibility into free-form verbal music.