--- "Erminia H. Passannanti" <[log in to unmask]>
wrote:
> "Try to keep up...etc.
The above section refers in part to the then recent
suicide of the playwright Sarah Kane. It's meant to
turn rather rapidly and poignantly from a dismissive
rant about media violence to an elegiac note
(signalled by the borrowing from George Herbert, "No
flowers, no garlands gay? All blasted, / wasted?") and
a different sort of anger. I do think Kane was
extraordinary and daring, not for putting anal rape
and cannibalism on the stage - Timon of Athens? Edward
II? - but for approaching such banal enormities with
such limpid, unsensational, unsentimental and finally
tender language. A frightening tenderness.
> I do
> not know in what measure
> our individual interest for the poetry of Geoffrey
> Hill and our close study
> of his language as brought our own poetics close.
Well, quite a lot I would guess.
> It is him, probably, the bearded father of negation
> and flagellation,
> whose built up egocentric "magnitude" one reacts to
> and against and
> reflects upon at various degree of affiliation.
> Making one conceive a plan
> for disorder, to get rid of such a weighty burden as
> well as to acknowledge
> its worth.
You can catch Hill at the same game, though: _Speech!
Speech!_ is all about giving Urizen the slip, although
he *claims* it's a poem written against disorder,
against the "acoustic din" of the media and all.
> I wrote you about the disciplined life of Federico
> Sanguineti, a long
> letter about his "sentimental" tastes. I hope you
> received it.
I did, with much pleasure. We might have to return to
that "sentimental". Richard Rorty, apropos of Derrida:
"he is very sentimental, and believes in happiness".
- Dom
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