Currently reading Bruce Andrews' Paradise and Method. A slow read,
because the essays repeat. What is curious to me is the almost nostalgic
ring of the Saussaurean premises of the early pieces (and which I will
be using in my paper to the SubVoicive Colloquium this Saturday). What
is fascinating is the way a social dimension wasd added to what is
esssentially the same argument: a constrast between pure transparency
(a straw man Mainstream Poet's position) and pure play, and the
necessity for an energised "third way".
I like, as somebody coming to consider and to teach "poetics" as discrete
area, the way the thinking runs ahead, lags behind the actual "work" _
and Bruce says so.
Paradise and Method is an interesting, brreathtaking description of
method.
But I haven't read it all.
It is certainly not the Bollocks Keston Sutherland identifies as the
essence of language criticism. But then it isn't "criticism". It is poetics. But
then that's the point. It isn't.
If I get time further postings on poetics readings. The Ethics of Pleasure if
I copuld formulate it. But then it's beginning in the poems themselves
ahead of that. Which is alos poetics, in the work. But then that's another
point, the same point.
(I hope that's cleaqr enough for Rupert Loydell. For a man who publishes
baffling books on Anthony
Braxton....!!!!.................!!!...................................)
Only joking
Robert
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