To claim a body of work as terrible or not meriting comment without
sustained demonstration of some purpose to the claim is a minor exercise
of will, reflecting lack of interest in why one is speaking out. I'm
emboldened, on the other hand, by any discussion that exposes the work's
behavior as motive for commenting on it. We've had some of this from
Sutherland, Brady's friend. The most provocative idea, for me, is that
Brady hurts. Illusive, elaborate, remarkable: in all her words,
'recursivities,' hues, feelings pertain. Were I attempting to comment on
the work -- and I'm not; I'm commenting on the comments -- I'd begin
close to the emotion bone and see my way through the prolixity, which --
to make a comment, after all -- I find largely process residue,
repairable through miraculous editing as Brady herself suggests in her
post forwarded a few hours ago. Feeling conveyed is major, not to be
overlooked.
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