Thursday, August 16, 2012
The Complexity and Terror
The meaning of a story should go on expanding for the reader the more he thinks about it, but meaning cannot be captured in an interpretation. If teachers are in the habit of approaching a story as if it were a research problem for which any answer is believable so long as it is not obvious, then I think students will never learn to enjoy fiction. Too much interpretation is certainly worse than too little, and where feeling for a story is absent, theory will not supply it.
My tone is not meant to be obnoxious. I am in a state of shock.
-Flannery O'Connor writes to a Professor teaching her stories.
Imagine your audience. I may not know what reviews are for, but I know who they are for: their readers. And it behooves reviewers to keep those readers in mind. One reason I’ve enjoyed reviewing for Poetry is that I picture its audience to be pretty much my ideal one, knowledgeable enough that I can assume familiarity with poetic concepts and history, but broad enough to keep me on guard against the excessively technical or clannish. But not every reviewer for Poetry has imagined its audience in the same way, and it’s fascinating to hear how many different pitches echo through the archives.
-"100 Years of Poetry: Re-reading Reviews" from The Poetry Foundation
I am in an extremely frustrated phase with poetry...what do I want out of it? I am feverishly tearing through stacks of books and not finding whatever that is, so I go back to what has stuck with me: Lisa Robertson, Juliana Spahr, Anne Carson, Alice Notley, Erin Moure, because the thinking is so well formed with these poets. Because I believe the thoughts. There is writing that knocks me out: Vanessa Place, many of the women in the Conceptual Writing anthology, but there is something I am longing for that I’m not finding either, and I guess I want to acknowledge that. It’s a longing for the world, the body, the emotive, the quotidian, intellect, play...and an expansive canvas, but also a sense of place, and an accurate representation of the moment. The complexity and terror of our moment. I may be identifying for myself a frustration of nostalgia.
-"Women Who Write Poetry Criticism (Roundtable)" from the BAP Blog
The idea behind the veil of ignorance is relatively simple: to force us to think outside of our parochial personal concerns in order that we consider others. What Rawls saw clearly is that it is not easy for us to put ourselves in the position of others. We tend to think about others always from our own personal vantage; we tend to equate another person’s predicament with our own. Imagining what it must be like to be poor, for instance, we import presumptions about available resources, talents and opportunities — encouraging, say, the homeless to pull themselves up by their bootstraps and to just get a job, any job, as if getting a job is as simple as filling out an application. Meanwhile, we give little thought to how challenging this can be for those who suffer from chronic illnesses or disabling conditions. What Rawls also saw clearly was that other classic principles of justice, like the golden rule or mutual benevolence, are subject to distortion precisely because we tend to do this.