Is that "Barber of Seville"? I love the "Barbie"
allusion in "Barbaraville," too.
I can't resist playing today--everyone's so bright and
so well-read. And I'm homebound with a bad leg,
enjoying Poetryetc, a remarkable group of people.
Thanks, one and all, for the laughs--let this be known
as Silly Sunday!
Candice
--- MC Ward <[log in to unmask]> wrote:
> That's a new turn on "confessional," and it seems a
> lot more useful than the angst of Lowell, Sexton,
> etc.
> I'm fascinated by the notion of an overheard world
> (or
> life) and its impact on the text's privacy--the
> latter
> a contradiction in (marketing) terms, obviously, and
> yet, and yet....
>
> There's an exemplum in a triumvirate of works that
> I've come to appreciate: Bram Stoker's _Dracula_,
> the
> Francis Ford Coppola film, also called (not quite
> truthfully) _Bram Stoker's Dracula_, and a stunning
> recent novel, _The Historian_, by Elizabeth
> Kostova--all three pursuing their own agendas across
> the grain.
>
> Candice
>
> I'd like to hear more about these parallel worlds,
> Christopher. To what do they lead (not to
> Transylvania, presumably)?
>
> Candice
>
>
>
> --- Christopher Walker <[log in to unmask]> wrote:
>
> > <snip>
> > It doesn't seem to me that using "I" in poetry (as
> > opposed to drama, say)
> > marks a major difference among the possible
> pronouns
> > OR the relevant genres.
> > [Candice W]
> >
> > Candice -- I agree, but perhaps it's worth
> pointing
> > to in regard to poetry,
> > because people expect the "I" to be
> "confessional"?
> > [Tad R]
> > <snip>
> >
> > I think the 'confessional' is part of what I meant
> > by overhearing: the
> > textual equivalent of eavesdropping, breaching
> > privacy.
> >
> > CW
> > _______________________________________________
> >
> > 'What's the point of having a language that
> > everybody knows?'
> > (Gypsy inhabitant of Barbaraville)
> >
>
>
>
>
>
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