Hi Keston,
re 'the genuine text becomes insider knowledge' as you wrote yesterday.
Yes - that's the problem. It's a question I might try putting to Prynne.
If intention is present - and I'm presuming it is from the specific detail
available in the books - at a peritextual, paratextual engagement, then
are such intentions not part and parcel (it's Smithson's shell and ocean
again) of the writing?
How does it become simply text? Right, that's my point about the books.
Now I'm not trying to invoke a preciousness about original or authentic
editions. It can be fun to give work to editors and just watch and accept
as part of the work, what they do with it. But the Agneau has stuck in my
craw for a long time as a flagrant breach.
As to other authors in for example COC, as you say there is violence there.
For myself I deliberately produced a different 'version' (there is an A6
chap and two other versions extant) for the configurement of that book.
Caroline Bergvall's 'Eclat' which Sound & Language put out late last year
has also appeared in a very different 'version' in the Performance Research
Journal.
Now that might begin to provide a headache for academics, but I hope we'll
see more and more of such specific positioning. Decisions at each and every
moment. As Stuart Hall puts it: 'Articulation is a necessary moment of
closure'.
love and love
cris
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