At 6:02 AM -0800 28/2/02, passermin wrote:
>I am referring to your description of the process Emma
>is now using. You are talking as though you are the
>one who for the first time is describing a new
>unheard of linguistic poetical phenomenon: and in my
>post I was stressing how much this technique, called
>postmodernist pastiche, has had its time now.
Erminia, I was responding somewhat sideways to cris's post on Cage
and Burroughs, who were exploiting random techniques and outrageous
parodies way before the 90s. I do not know why I sounded wide-eyed.
It did sound as if you were being very scornful and patronising
towards Emma's work, as if she was an ignorant Australian who knew no
better, and that was what I meant was uncalled for: perhaps what we
have here is the usual misreading of tones.
For the record, I'm quite aware (as Emma is) that Emma learned this
technique from among others. She has adapted it to her own purposes,
which is why I attempted to describe it precisely (not that I have an
intimate knowledge of her working practice, just what she has told
me) - what she does is not quite pastiche nor collage, nor can it be
seen as the kind of postmodern poetry you describe. For one thing, as
you note, it doesn't seek to eschew emotional affect; which seems to
be the problem some people have with it.
Best
Alison
--
Alison Croggon
Home page
http://www.users.bigpond.com/acroggon/
Masthead online
http://au.geocities.com/masthead_2/
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