Wish I could have delved deeper into this. It's a poetico-phenomenological exploration of home.

Regrettably, a significant portion of it literally seemed as if I was perusing a poetics of space, which felt rather empty, generalizing highly specific experiences.

I do appreciate what Bachelard endeavored to achieve here and his overall project. I concur that the introduction is indeed the most engaging part.

I hadn't progressed far before it started to become repetitive. Apparently, he dwells on snail shells for some time.

This book would be markedly improved if it were approximately 120 - 140 pages in length.

Nonetheless, Bachelard intrigues me. Perhaps this isn't the most ideal starting point with his works. It's a book that I'll have to revisit and give a second chance at some future date.

”But we still have books, and they give our daydreams countless dwelling places.”


At times, I found myself completely captivated by Bachelard’s poetic exploration of the imagination and the memories that fuel and drive us towards creative expression. His ideas seemed to dance on the page, painting vivid pictures in my mind. However, I must admit that this book, as a whole, can be rather abstract and overly verbose. It requires a certain level of concentration and patience to fully grasp its depth.


Yet, as someone who has often felt more attuned to her dreams than to the harsh realities of the world, it is impossible for me to deny the power this book holds to inspire the chronic dreamer within. It encourages us to look closely at the significant moments and images that shape our corner of the world. To cherish them, to hold onto them, and to keep them alive through the magic of our dreams.


”It is on the plane of the daydream and not on that of facts that childhood remains alive and poetically useful within us.” This quote speaks volumes, reminding us that our dreams are a precious gift, a source of inspiration and creativity that can transport us back to the innocence and wonder of our childhood. Let us embrace our dreams, let them guide us, and let us use them to create a world that is rich with meaning and beauty.

This book is truly a remarkable distillation of the process by which our imaginations are formed and extended in accordance with the spaces we inhabit.

I was particularly enamored with the passage on shelters. It described how they not only keep us warm and safe but also foster imaginative growth. Bachelard astutely notes that we experience a sense of warmth and coziness in our homes precisely because it is cold outside. What a wonderful and yet mundane epiphany this is. We relish the warmth precisely because we are aware of the cold!

He further elaborates on the concepts of resonance, reverberations, and all the various ways in which nooks and crannies, locks, shells (which serve as homes for turtles and snails), attics, cottages, castles, and all these aspects of our spaces provide us with imaginative relief. It is truly astonishing to think about how these seemingly ordinary elements of our living environments can have such a profound impact on our creative minds.

Wow, this book really makes one look at the spaces we live in from a whole new perspective.

A great book, by a greater writer.

It has taken my ignorance by the hand through the places of the soul and its beauties in the details of details, and the allusions of the imagination and the dreams of awakening and the expressions of the poets.

Moreover, it has talked about poetry and poets as no writer or critic or poet has talked before.

It is important for every writer and reader, for everyone who wants to keep his spirit fresh and original despite its maturity, far from psychological analysis and the science of the soul and the dry sciences that deprive us of our imaginations by judging them without their logic. A wonderful introduction to揭开 the secrets of literature in general and poetry in particular.

That's a truly beautiful text.

It is sometimes provocative and, in any case, is as inspired by poetry as it surely must have been. Bachelard is speaking here of phenomenology.

In a sense, it is all the more flexible for the time because he does not oppose it to metaphysics (just as he did not favor idealism, rationalism, empiricism, or materialism in epistemology).

As you will have understood, his aim is not to reach the psychological or psychoanalytic origin of poetic images.

Rather, it is to seize the meaning of the poetic image in its creativity and in all its depth.

This depth demands an unceasing transfer between the poem and philosophy.

However, such a transfer is not in the mode of simple analogy, for the poet liberates from being.

This essay is, above all, a poetic ontology, for no word should be underestimated.

Each word holds within it the potential to unlock new dimensions of understanding and perception, and Bachelard's exploration of the poetic image through the lens of phenomenology offers a rich and rewarding journey into the heart of creativity and meaning.

When I think of my childhood,

I am often filled with vivid memories of my grandparents' house.

It was like a magical world of its own,

with countless secrets waiting to be discovered,

memories to be relived,

and corners to explore both inside and out.

Each visit felt too short,

as if I could never fully uncover all that it had to offer.

This book that I have come across recently,

in a strange way, reminds me of that special place.

It delves deep into the philosophy of the space within the walls and outside,

making me realize that there is still so much I have yet to learn from it.

Maybe on my next visit to that house of my childhood,

I will be able to see it with new eyes and gain a deeper understanding of its significance in my life.

Bachelard, who assumes the role of a phenomenologist, has delved deep beneath the fluctuating mirror surfaces of communication. His exploration has unearthed precious pearls of comprehensive meaning. He guides us to understand and grasp the power of poetic images that are founded upon emotions, existence, and truth.

By immersing himself in the study of communication and its various manifestations, Bachelard is able to uncover the hidden depths and significance within. His work reveals how poetic images can have a profound impact on our perception and understanding of the world around us.

These images, based on our emotions and our sense of existence, hold a certain truth that can touch our hearts and minds. Bachelard's insights offer us a new way of looking at communication and the role that poetic images play within it. His work encourages us to pay closer attention to the power of language and the emotions it can evoke.

Bachelard desires to rent a house from "himself" with all its angles and boundaries. The house is a haven that allows him to give shape to his imagination in peace. He attempts, in the phenomenological analysis of space, to interpret the elements of a house, from the basement to the attic, in accordance with the pattern of the human pronoun. In this way, the house is both the nurturer and the birthplace of his dreams. According to Bachelard, architecture is both a foundation and a function, both an expression of a dream and a means of comfort. The house, in the interpretation of a dream, is a symbol of "oneself". The self that has come from the past and is moving towards the future.

The main source of Bachelard's studies is poetry because he searches for the most naïve images in the original poems of poets and in the language system, and has less acquaintance with other arts. Bachelard focuses more on the imagination itself than on any art and makes the achievements of his research applicable to other arts because all of them have a single essence. Of course, Bachelard has not ignored painting. For example, in the last chapter, when he wants to deal with the phenomenology of the circle, he also places Van Gogh, the painter, beside the philosopher Husserl and the poet Lafontaine.

The phenomenology of imagination is considered the main subject of Bachelard's phenomenological studies. This subject has also been of interest to others such as Sartre. But Bachelard's writing is of a different kind. For Bachelard, phenomenology is, more than anything, a research method that provides him with the possibility to be freed from the prejudices that have dominated philosophy and Western culture for centuries and have caused the elimination of imagination from the stage of life.

The key point that Bachelard starts from is that the old house, the house of childhood, is the place of the alphabet and the center of the regulation of the imagination. And as we move away from it, we always remain ready to recall it, and we shed on many aspects of material life that sense of protection and security that the house provided for us.

We live the moments of the house through the nooks and crannies, the drawers and the cupboards that Bachelard calls "the house of things".

The nest evokes our sense of home because it makes us place ourselves at the source of trust in the world.

- Would the bird build its nest if it did not have the beak of trust in the world?

The cornerstone embodies the human's inhabitation within the place, in the corners and the pillars, because the act of inhabiting belongs to the phenomenological act (to dwell).

* Start by reading the two introductions and the first six chapters, then return to reading the two introductions: the introduction by J. J. Goux and the introduction by Bachelard, and then complete the last four chapters, because it is difficult to read the last four chapters without an understanding of the ontological basis that Bachelard presents in the introduction and an understanding of his phenomenological method.

I was deeply pondering on how to elucidate the reason why I have such an intense love for reading Bachelard. Currently, the best explanation I can offer is my profound admiration for his exceptionally deep thinking style. This book, similar to others I have perused of his, delves profoundly into the poetry of experience. In it, he approaches space, such as the places that envelop us and which we inhabit.

Looking at the table of contents: The House: from cellar to garret; House & Universe; Drawers, Chests and Wardrobes; Nests; Shells; Corners; Miniature; Intimate Immensity; Dialectics of Outside and Inside; Phenomenology of Roundness. These are not abstruse and overly metaphysical spaces.

I read this book while on my way to Las Vegas for a family gathering. Las Vegas is a space that I loathe with indescribable disgust. However, I vividly recall reading the Poetic of Space in this environment, and it made the entire incident even more surreal. I copied numerous passages from the book into my notebook. It is precisely that kind of book where fragments capture a thought that you could never accurately express in words.

Just now, I happened to open the book to the chapter about inside & outside, and the entire first paragraph presents a thread regarding inside and outside, yes and no, positive and negative, being and non-being, and so on. Bachelard combines philosophers, writers, and a whole host of dreamers to unfold complex concepts into an elegant reading moment. “…great dreamers possess intimacy with the world.” - Bachelard

La Poétique de l'Espace, which means The Poetics of Space in English, was written by the French philosopher Gaston Bachelard in 1958. It is a book about architecture. Commentators have drawn comparisons between Bachelard's views and those of Martin Heidegger.

In this book, Bachelard explores the concept of space in a unique way. He believes that the house of the future can be better built, lighter, and larger than those of the past, creating an opposition between the image of the dream house and that of the childhood home. He suggests that it may be beneficial to hold onto dreams of a future house, even if they may never be realized.

The Poetics of Space should be regarded as a work of poetry and imagination. It is a product of Bachelard's 74 years of life and is part of the final stages of his philosophical work. This profound and meaningful book may also be considered a good work of literature by Bachelard himself. He believed that every good book should be read again and again after the first reading, as that is when the creative reading begins.

Readers of this book need to read it repeatedly to understand it fully. No other writer has delved into the concept of domestic space as precisely and masterfully as Bachelard. The details of light from the "framework of the house," the "cellar," the "attic," the "basement," the "old graves," and the "village huts" resonate throughout the book. Bachelard does not see himself as a "prisoner of architectural history" or focus on the details of building a structure. Instead, he views the house not with the ordinary eyes of an observer but with a profound and humanistic gaze. The house we live in is not a featureless box; the living space transcends the geometric space. The topic of discussion is that the house is a haven of dreams and a refuge of the imagination.

The first reading date was July 12, 2009. The Persian translation of this book, titled بوطیقای فضا (The Poetics of Space), was translated by Maryam Kamali and Mohammad Sharbacheh and published in Tehran by Roshanegan va Motale'at Zananeh in 2008. It has 287 pages and the second edition was published in 2013. The ISBN is 9789641940128. The subject matter includes imagination, poetry, space and time, from French philosophers and writers of the 20th century. The date of synchronization was June 12, 2020. A. Sharbiani.

Beauty of the Place

This book hopes that every critic would put his name on a similar work.

Juston Bashlar, a philosopher of literature,

who sees the beauty of metaphor as truth

in an extensive canvas from text to the imagination of writers.

This man has a perception of the world of feelings where images and ideas grow.

This intellect transcends logic to the intuition from which inspirations in literature and details of daily reality also stem.

Juston Bashlar will not be a passing text in your life.

He will offer you a hand that is sincere to papers and pens.

He will look at you with an eye that penetrates houses, domes, streets, and gardens.

He loves the freedom of the vast space

and the secrets of the closed treasures.

Himself is a wealth with a pioneering spirit.

He seeks the magical world that forms on the pages of consciousness.

This pen, you love its words because they inhabit your world

and give you deep friendship.

Its sound lingers in your affectionate environment

for the sake of being

and writing.

Juston Bashlar searches for the consciousness of the creators of the world,

their perception of it in the mirrors of their imagination,

and its reflection in the alphabets of their expression.

Our world is what is imprinted in our imaginations.

It is lines and colors.

It is shapes and formations.

It is slopes and boundaries.

It is extensions and intersections.

Its source is our emotional and mental experiences

and the accumulations of sayings that linger in our social space.

Our world is made of overlapping symbols in the gallery of our depths.

Consciousness is the director to which we come in the city of the self.

It presents its experiences on it.

It emits visions to others.

Among us, there is a common essence.

Among us, there are variables of climates and experiences.

So let's look in the big museum

of the beautiful human phenomenon.

That essence contains us.

And we enjoy those variables.

Many poetic images come out of places,

from the earth and water,

from the mountains and deserts,

from the houses and neighborhoods,

from the orchards and oases.

We are the children of the places.

We are charmed by them like a mother's womb.

We protect them like a father's shield.

We love their minute details

like a delicate, shy beloved.

The characters of drama acquire their characteristics from the personality of the place,

its nature and character,

the cycles in which we rotate.

Then we return to the abode.

We continue the conversation

with a beloved resident

or we dream of a beloved

who visits us in a place

whose heart no one has seen.

The creator who gathers his characters in the house belongs to a cultural model that倾向于stability, eternity, and traditions.

The café, the house of the street, a meeting place for the clouds and strangers, is a structural model for a multi-dimensional conversation aimed at communication and escape from the suffocation of the confinement of the house.

The street is a space for adventure and discovery.

Some people can be classified according to the models of the place,

the personality of the house,

the personality of the café,

the personality of the street,

the personality of the field,

the personality of the factory,

the personality of the commercial company,

the personality of the school,

the personality of the garden.

We are the children of the universes that we touched and were touched by them.

Our features were shaped in them.

It was shaped in our unseen eyes.

It contained us and expressed us like a word outside the text.

It restored the strange youth of our dreams.

On the page of feeling, its suns rise from the windows of unity.

Its rays swim in the refraction of space.

The faces of the clouds are scattered in stories of resistance between wakefulness and sleep together.

In our silence filled with meanings, the tongue of the present speaks without a voice.

A history that was not like this.

We did not make it.

We inherited it from the space of Atopos, which is crowded with hidden speeches in the capsule.

The places fall into the traps of words.

And it frees itself alone in our unity.

When it devours the false looks of choice.

The steps of a beloved who left the house.

And the spirit strives to contain it so that its cells overlap.

So that it does not fade its traces behind the hands of the clock.

Consciousness witnesses to blow away the dust and pick up the crumbs of memory.

And it resorts to signs that move between its imagination and the space of time.

In creation, a lesson is learned about the history of places in their architectural and poetic construction.

It has its statement, its alphabet, its looks.

And its tongue of the present that speaks in souls that have not been bored with their location.

Except for a poet inspired by feelings.

Or a storyteller who cuts the trace of humanity.

Or a dramatist who extracts its symbols in a conversation.

It opens windows for lights that illuminate the dark cavities.

It weaves in the darkness of dreams.