Also, if I am allowed to add this further point, the reader is,
after all, the author's client.
Why should he pay, let's say, L. 7-50 for a small collection of poems,
(which correspond to
6 kilos of bread,
5 liters of milk,
10 kilos of patatos ,
two sigarettes boxs,
two paracetamol extra-pain relief)
if not to find there an aesthetical, psycological, political relief to
his own tensions and questioning?
Why should he deprive his daughter the pleasure
of a new Barby Doll to buy instead an Anthology of Contemporary
Australian Poetry", which may have the same price?
I feel this is enough to justify the acceptance of criticism and mis-
interpretation:
exchange with reciprocal legitimation.
I found great relief in the summer of 1989 in reading, on the a
fabulous but unsympathetic beach of Palinuro, Kierkegaards' The Fatal
Disease, in front of which my sentimental/ existential anguish seemed
to re-establish its real dimention and become less disproportionate.
The book costed me only 15.000lire (5 UK sterlins).
Imagine the money I saved not needing anymore to consult a doctor.
Therefore, I feel one can read and exploit the author's intentions, ...
(some authors', like the rich Gore Vidal, living in a fantastic villa
in Ravello - Amalfitan Coast- Salerno - Italy) surely don't mind! They
have received enough gratification on their bank accounts not to
trouble themselves on how much their work is being misunderstood by a
proportion of the readers).
And poets?
Just milk-bottles for nocturnal soothing confort.
(Only L.0.75 per pint)
Erminia
>It islegitimate to "looking for menaing" where it wans't meant to be.
>It is viceous also. Since it is what happens in legal trials where one
>is accused of something that he hasn't done. The accused says "I did
>what I did innocently". The accusators say "There is not such a think
>as innocence".
>Fatal abuse. But, here you are. If you do not want to be abused, you do
>not expose yourself, you do notwrite or join discussion groups (the
>literary orgies).
>
>Erminia
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