Hi Wystan,
The thing is though, there's also a massive amount of what
could be described as modernist art which is so unmissable --
there's that wonderful image of riots breaking out during the
first performance of The Rite of Spring, with some tuxedoed
old buffer repeatedly thumping the head of the poor individual
seated in front of him. What was once shocking has become
popular. Same with Messiaen -- ever sat down to the Turangalila
Symphony? Terrific!! One of my favourite pieces of music.
Same goes for Bartok and Ravel. On the other hand, I loathe
all that post-Romantic German stuff, the Brahms-Schubert-
Schumann brigade.
In other words, 'difficulty' has (perhaps like water) found its
level. Picasso is a perfect example.
Which takes us onto Ashbery, who apparently thinks he's doing
the 'same thing' as Picasso . . . .
I would perhaps suggest that language is, somehow, more
fragile than either music or art. In theory, there should be no
reason why postmodern-inspired poetry shouldn't be met with
the same enthusiasm as Messiaen at the Proms . . . . but this
doesn't seem to hold true in the same way.
Perhaps because both music and art are accepted as abstracts,
as 'art'. Language is something everyone has, and serves a
varying amount of strict functions. To deconstruct it, to play
with it excessively, seems to produce a kind of anxiety,
or a type of resistance. The linguists on this list
(try saying that after ten pints of Old Jock) may be able to bring
their knowledge into this . . . . . Bill also made this point about
an-other language a while back.
Having discussed music in this way, I'm forced to confront my own
resistance to experimental poetries -- a good thing. But do
I have to read Ashbery?? Bores me to tears for some reason . . . .
as does the almost-identical stuff written by James Tate.
Mind you, I *did* enjoy that poem ending in 'trilobite trilobites'
posted recently, against all expectations . . . .
What's on the table? I really don't know . . . . even as something
of a formalist, the New Formalist model seems rather unappetising.
Cassie --
>assume they won't 'get it' unless we speak extra slowly and distinctly.<
No, not this -- more the sense that, for whatever reason, the
wider art-consuming public aren't as adventurous in their reading
matter as they are with respect to the visual arts or music.
This may be a gross misapprehension on my part though . . .
I mean a Swedish workmate of mine was quite happily reading
'Trainspotting'. The question then, I guess, is the gravitation
towards narrative as opposed to lyric occurrance. Perhaps for the same
reason that for every fan of Messiaen there's ten thousand
of Brahms . . . . and always will be, I suspect. Which is not to
diminish the latter as a composer, only to say that there are tonal
comfort zones which are particularly cherished. Perhaps the
same could be said with regard to poetry? Not sure . . . .
My 'moan' is simply that poetry too often seems to fall outside the
zone . . . for reasons I'm not smart enough to figure out.
Anyway, enough rambling -- no doubt I've lost the thread by now . . .
Andy
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