Peter, I like what you say about the later Cantos a lot 'that the
mind-habits that produced the one encouraged the production of the other'
in respect of his non-sequitors. Seems to me that they are over-habituated.
His making is too smoothe actually, it allows for anything and can absorb
and resolve, through placement and cadence, anything. At least that's the
impression. In fact he's motoring in some distant passage removed from the
world in which he struggles. He's retreated. The facture is tending towards
vacant. It has a consistenceny related to the accusation levelled at more
recent Bruce Andrews, just more language stuff being processed through his
particular (well attuned most certainly) machine. They strike me as driving
towards engagement only with pure cadence and in that purity being at their
most arrogant and dangerous - floating in space, the attainment of class
out of bounds, utter artifice. Fascinating none the less, but tied into the
worlds only through arcane reference. Would that his doubts were more
tangible.
However, that doesn't suggest that non-sequitor implies racism or fascism.
Would you call Schwitters' collages 'fragment', non-sequitors? Where are
your internal logics?
Erasure (for example) is discourse between presence and absence - surely
that's of crucial interest, in respect of editing, making, shaping and so
much more. Don't you ever cross anything out and rewrite it or simply
remove it. Isn't that readable in what you leave and present?
love and love
cris
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