Yes, I am currently writing a book length study of the poem. This is the dedication.
kasper salonen <[log in to unmask]> wrote: oh
KS
On 11/07/07, joe green wrote:
> Bleaker and stranger than you know. No "one track" here. Indeed, here is the requsite analysis. In this strange poem the writer ostensibly, hyperbolizing and problematizing the "project" of poetry by miming transactions with the corpse of the same and, thereby, clearing a space, precisely by presenting the monologic voice as overdetermined, for the sort of poetry heretofore thought possible only after the atrocities of this century and the apocalyptic vision of Tammy Faye Baker and Joyce Carol Oates coming to judge the living in the dead in fact elides the category of difference by usurping subject positions such as the maternal by evacuating meaning from the metaphysics of substance while, at the same time, constructing the death-driven interiority of his class, race, gender and sex as the only possible non-intersection of textual surfaces. Doctor Seuss. Indeed.
>
> Indeed, the very illusion of identification with nothingness marks a moment of crises that is, certainly, constitutive of readings that, unlike mine, necessarily engage the text in this way through their acceptance of identification with nothingness as deconstructed by the patriarchal, misogynist "speaker" and so act to deny a revisionary praxis that would open this text to a consideration of what is really at stake for cultural workers.
>
> This, itself, is, of course, a grand a vulnerable claim but it is only in this way that the critical process postulated by those whose jobs I want can be satisfactorily tested and, perhaps, experimentally reproduced.
>
> As Walter Benjamin remarks: "late and soon, getting and spending we lay waste our hours." This creme brulee, so unlike that intoned and ventroliquized by WS on William Peter is, in fact, an argument ex silentio directed against the banalization of art for it is precisely in the fact that what is called "high art" is, in fact, banal that the necessary insight -- that no death driven person of the writer's class, sex, gender, race and, especially, nationality (unknown as yet) should tell us that -- that a politics can begin to be built on the ruins of the banal so that persons in milltowns gobbling Prozac while creating a space for banality can construe this poem not as issuing simply from l'homme meme but, precisely, as what should be turned away from (this mise au point of the danse de vertige of the mission civilitrice which seeks always to claim that les jeux sont faits).
>
> "Finita la commedia" must always be given a deferred significance. What moment exactly are we talking about? And, yet, in denying such a notion are we not, precisely, denying politics?
>
>
>
> kasper salonen wrote:
> ah the one-way, one-track maze of juvenile rhyme. this is really fun to read
>
> KS
>
> On 11/07/07, joe green wrote:
> > I Think Ofttimes of Doctor Seuss
> >
> > I think ofttimes of Doctor Seuss
> > Ah, to read a fine verse as he used
> > To write: sans "Higher Meaning."
> > Sans epiphany. Sans poxy preening.
> > Sans anything like the usual geste.
> > Which, dear God, won't you put to rest?
> > He could write of Castles in the Sand
> > Near Whoville or some other land.
> > And, though, it's a dead metaphor
> > Done 10 million times before
> > From Terra to Tramfalmadore
> > He could stand upon that Fatal Shore
> > And not think of the Lost Lenore
> > And all the rest -- the usual bore
> > And be, so fine, without pretension
> > Which is damn hard I thought I'd mention.
> > No mermaids singing each to each.
> > No little girl upon that beach
> > Doing what's been done before
> > Undone by a dead metaphor.
> > He'd have a Castle in the Sand
> > And trampling it at his command
> > Perhaps a sullen Who or two
> > Quite indifferent to you.
> > Of "Higher Meaning" -- not a pinch.
> > And so, Good Day to You.
> >
> > The Grinch
> >
> >
> > Fredonia, 8:26AM 7/11/07
> >
> > ---------------------------------
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