Motion's annointment is another example of not-yetism in the UK. Fences are
broad enough to sit on without putting the pin-stripes on one's delicate.
Freedom of Information Act - not yet and add your particular poison -
not yet.
He's been chosen to represent that 'English Line' (hopelessly embroiled in
the not yet), almost as if he could have composed that disgruntled reader's
report on Keith's projected anthology himself.
He's been chosen to reify connections to both Phil Larkin and Ted Hughes.
He's been chosen as a bloke, not yet this time for a woman and certainly
not yet time for a lesbian poet (the stark choice with Carol Ann Duffy). He
will have an impact and it will be to demonstrate clearly what the Enligh
Line, middle ground or central reserbation as i prefer to consider it
really is. It's a fine annointment, as if renders the territory which will
be contested and projected all the more risible, sorry visible.
It plays into discussions about male poetic operators versus women poets
with identity politics pretty strongly. His annointment might create even
more space for unusual work to flourish in because his eyes are so fixated
onto a petty ball of the narrow management of acquired taste and the
reining in of curriculum, rather than a broader sense of writing between
societal fabrics.
Not that he cannot do considerable damage with his fixations and reins, but
that those writings which are beyond his gaze will not even be considered a
threat and may be enabled to take the balls (if you'll pardon me running
with this male thing a touch here) out from under his feet and kick them
into the hungry crowd.
He needs to be read as Blair, as shadow 'court', as revealer of agenda, as
bearer of the blueprints for sanctioned construct.
love and love
cris
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