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A collection of meta-criticism by American poet Adam Fieled, addressing books released between 2007 and 2015, and including apostrophes to English Romanticism, Modernism, and post-modernism. Cover image by Caravaggio. ( )
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
One thing this pdf points to is the self-conscious adoption, by me, of the role of a kind of Renaissance Man of literature: I write the books, and then proceed, in the manner of Wordsworth, to create the taste by which they are to be read. The irony of this imbroglio, in 2015, is that literature in the Western world, outside my own endeavor, has fallen into a rather pitiful trough of sloth, greed, mediocrity, and thoughtlessness. For me to add to, rather then subtract from, the responsibilities of a thoughtful author (and “responsibility” is a substantial Wordsworth critical motif as well), would seem to cut so ludicrously against the grain of the 2015 Zeitgeist as to be senseless. On the other hand, what Wordsworth would have made of the Internet, as an egalitarian realm offering unprecedented support and opportunity for literary thoughtfulness, is difficult to say. In any case, the point is moot: I and this mystery here we stand, and the clear, sweet mystery is how to break in the United States, from Philadelphia on out, as a country developed enough to withstand major high art consonant literature from within its own borders, imposters, press drivellers, cranks, drug dealers, and “oppers” in general be damned. This essential strategy: taking the broadly performative, and doing more, rather than less: is hinged on the idea of building both a repertoire of literary skills and a stout body of work to subsist along with it, remaining mindful of striking while the iron is hot.
Citações
Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
In an American suburb like Cheltenham, the landscape is mostly occupied by nothingness places— homogenized, generic strip malls and thoroughfares, along with neighborhood after neighborhood of undistinguished, unattractive homes, parks, and schools. It is an outside the mind reality of entrenched nothing and nothingness— places which not only mean nothing to anyone, but which were specifically designed and manufactured to mean nothing to anyone— hostile places for kids with brains and imagination. Old York Road is the archetypal suburban pivot point— supporting commerce, facilitating different forms of traffic, but generic enough to guarantee that cognitive-affective attachment to Old York Road is extremely unlikely for those who use it. Connecting nothing with nothing, in 261, manifests the process by which the human mind, surrounded by nothing and nothingness outside the mind realities (soulless realities), internalizes nothingness also as an interior reality; having, under the weight of perpetual imposition, no choice but to do so. Once the nothingness of the suburban landscape is internalized, the mind’s affective and imaginative capacities grow numb, and subsist in a state of dormant torpor. When the hero/anti-hero of 261 pulls his rough u-turn in Old York Road, it is both to demonstrate rebellion against internalized nothingness and to (by risking death) express complicity with it. It is an ambiguous gesture, which also encompasses expression of an internal landscape incompletely homogenized with Cheltenham’s outside the mind tactility.
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Informação do Conhecimento Comum em inglês.Edite para a localizar na sua língua.
Oddly enough, Trish, which just took to the airwaves on Youblisher yesterday, was written to represent the immediacy and vividness of the most sensual kind of human life. Trish, unlike Equations, is an incomplete dialectic; the thesis emerges at the end, that, for some unaccountable reason, some individuals need a sense of romance in their life and some do not. I do, and most Aughts Philly stalwarts did, too. Yet the congeries of elements which populates this sonnet cycle manages to cover how advanced cognition might interact with sense and sensuality. The art of the mind completing the body’s work and vice versa is a major one for high artists, and thus a major one for those of us in Aughts Philly. The political reality of the PFS way of life is a challenging one. We prioritized cognitive ability and developed individuality against the masses, and (more importantly than some might think) we also had a damned good time doing it. When our lifestyle in Aughts Philly hits the airwaves, so to speak, it will be an issue for America to deal with. Philadelphia was our “rosy sanctuary” and a self-generated mind-scape for us, as well. If we chose to pursue politics in a lateral fashion, it does not mean a pertinent political statement was not made.