>it's more than that isn't it edmund? more than just the shelf life of the
>universal and the commodification of the present.?
hi ian,
i'm not quite sure what "it" is you mean?
i was only really thinking about runaway poetry bestsellers, which seem by
that alone to become different from everything else of whatever stripe,
because they've reached far beyond any of the usual constituencies for
poetry. Recently, Betjeman, perhaps Wendy Cope though I don't know how
runaway her sales are. Then maybe Edward Young's Night Thoughts ?
>it's also to do with the assumption of the authority of single voice,
>single perspective. Isn't it? I prefer writing which demonstrates the
>impossibility of that.
This is a separate thing. But how often is that assumption actually made?
Surely as soon as Petronius wrote about a banquet from the view of a
narrator taking part in the scene, the single perspective lay broken like a
burnished and over-stressed shield?
e.
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