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40 Simpozij OBDOBJA to grow and gird modern European epistemology – reverberates not only in Perat’s opening stanza, but also across the poem. Perat’s critique is in fact intricately structured, demonstrating her masterful artistry as poet. It begins in the scepticism invoked tonally in line one with »[i]t is said.« That tonal deifance of received norms also marks her intractability. That tone is enhanced by Perat’s control of narrative as she interrogates the epistemology of European modernity across the poem via an irreverent re-examination of the death drive. That intellectual challenge to Freud’s canonical concept structures the poem’s counter-narrative to European modernity. It reveals its inadequacy, implying a surfeit of epistemological possibilities beyond its limiting conifnes. To build upon Savransky, there exists beyond the European epistemology of modernity the deeply transformative potential of non-Eurocentric thinking. Perat builds this liberating, decolonial argument paratactically. Her invocation of the Freudian death drive in stanza one becomes the founding referent for a mosaic of subject positions relative to mortality, as aforementioned in ontological terms. Those ontological archetypes people the poem, conjuring and critiquing not only various instantiations of European ontology, but also European epistemology. That is, these personiifcations are vectors and metaphors for the epistemology of European modernity, of which psychoanalysis is a founding element. And Perat explores the limits and inadequacies of each, meaning the inadequacies of modern, European epistemology. Such is the layered evocation of decolonial imagination in this special poem. It moves swiftly and trenchantly in its pursuit of being and knowing beyond Eurocentric modes of relfecting and communicating modernity. It seeks the deeply transformative potential of non-Eurocentric thinking beyond European epistemology. Of note, the decolonial impulse in the poem is to critique European epistemology by exposing the pitfalls of its Eurocentricity. More deeply, the poem is interested in exposing the partiality of European epistemology relative to the possibility of thinking and knowing in toto. This is evident metonymically in the poem’s critique of the inadequacy of the Freudian death drive to reckon human desire. For example, Perat writes »psychoanalysts say that / he who relinquishes desire has already died,« and then she impugns their logic. She shows its false limits. She demonstrates that to be beholden to that Freudian logic of desire is to be constrained. It diminishes epistemological possibility. Hence she seeks liberation from its traps. But Euro centri- city is a formidable foe, meaning the speaker recognizes its traps but cannot avoid becoming mired in them. And mired as she is, she intimates with frustrated resignation that »all I can do / is to wait« (Perat 2014: 9). There is hope, though, in the poem. Her restless waiting is not an interminable monotony. It is interrupted by irreverent bursts of art. Art injects intractability into the colonizing epistemology aiming to homogenize and marshal imagination. This is why Perat writes that »[t]here is a certain grace in saving yourself / in art« (Perat 2014: 9). It can help one in her struggle to extricate herself from the existential mire of Eurocentric epistemology. In other words, art is transformational. It introduces 159
