Wednesday, March 14, 2007

So thinking about how language that doesn't use overtly emotional elements can produce great emotion.

Examples of (in some cases) overt emotion being say, Ginsberg. Swooping motion of directly, self-consciously getting something out. Some of Alice Notley's work also. A desperation in the moment of the text, and also speed, getting it down, to meet it's needs. And to amend, more perhaps a need for the text to be born than for the poet, who is a vessel, to express themselves.

I'm addressing you.
Are you going to let our emotional life be run by Time Magazine?

So it seems like emotion is tied to address. The act of addressing a specific person, or circumstantially, whoever's reading it.

Then maybe, on the other end, Ashbery, passages say in The Skaters, which are richly emotional but also exhibit a certain avoidance of that directness that lets you know when to feel something. One is no better than the other.

Also on the Ashbery end, thinking of how Pavement songs like Brinx Job, or Type Slowly are very emotional, but the lyrics are tantalizingly indirect.

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