Doug,
I am admittedly 'academically-deprived' but I'm always puzzled by the
mainstream's seeming ignorance of these issues even though they have been a
part of langpo for many years and 'experimental' writing for even longer.
tom
----- Original Message -----
From: "Douglas Barbour" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Wednesday, November 14, 2001 12:19 PM
Subject: Re: biographical poetry
> Well, you're right, Tom:
> >
> >For example, in the examples you furnish, I would suspect that there is a
> >shift from the subjective to the objective and perhaps back again and
likely
> >a shift from individual to group and back again? How did these shifts
> >affect the writng and how do they affect the reading?
>
> & the questions have no easy answers. Ondaatje, eg, goes in & out of his
> various characters & is practicing already for the novels to come (I'd
say,
> see my Michael Ondaatje [Twayne], but...). The others too. In a very
> different manner, Hower brings so many discourses into play, including her
> own life lived & written that the thickness of the weft & warp of her
weave
> is almost impossible to unravel.
>
> And, as readers, we all bring different knowledges to bear upon these
texts
> & their implications...(especially, perhaps, the historical/contextual
> ones...?)
>
> Doug
>
> Douglas Barbour
> Department of English
> University of Alberta
> Edmonton Alberta Canada T6G 2E5
> (h) [780] 436 3320 (b) [780] 492 0521
> http://www.ualberta.ca/~dbarbour/dbhome.htm
>
> Beauty
> is to lay hold of Love
> is the leave
> to
> Charles Olson
>
