MUSIC CRITICISM GOES IKEA

Music Criticism Has Degenerated Into Lifestyle Reporting - The Daily Beast:

Ted Gioia is a jazz critic , music historian and journalist who's become provocatively concerned with the seeming devolving status of that of his occupation, music criticism.His commentary, linked above, caused to choke with the shock of recognition, as it appears that the coverage of music, old and new, fresh , middling and downright putrid, are accorded the same rhetorical standbys when they are covered on arts pages, in print or posted to lifestyle websites. It's been as though that no one among an invisible, snarky and uncommitted ranks of entertainment writers have a passion for music as such; critical estimations in so many record reviews I've come across over the last ten years have skewed toward the lazy reshuffling of conventional wisdom a 60s Old Guard of music judges managed to  render into meaningless pulp by the end of the 70s. Musicians, bands, their music  seem more fetish items, articles of acquisition that would reinforce a sophisticated listener's idea of themselves as Hipsters keeping a faith with some forgotten notion of living by values that transcend the merely material.

 But it is materialism we're addressing here, and music is less, much less the vehicle for any kind of new poetry, the space where what can't be said or explained about an existence who's purpose and meaning behind the flesh and blood circumstances of our routine gets expressed in a manner unforgettable and which provokes more earnest self examination, and instead makes all the sweet music into tones that compliment the carpets, the view of the ocean from the top of the hill, the selection of unread books on sparsely occupied shelves.  In fact, it's not that music criticism has devolved  down to lifestyle reporting, it is merely being replaced by  editors and publishers by a species of celebrity journalism.  Musicians  replaced Hollywood movie stars in large part as famous and rich folks that fans of popular culture obsess about and, as it goes,  in a world where media is now a  24-hour concern, filling up those column inches online and online and , for the love of god, all over those cable shows, the fastest and most ready  bit of material for reporters to bring to a drooling public's attention are the trivial doings of what these people do in their daily lives. 

In an atmosphere where everything is up-to-the-minute, the second, the nanosecond, music criticism only takes you so far. I was a music editor for several years and I know the dread of having holes in your section layout--that is , no stories, no reviews, no ads to fill up a gaping white space on the page you're trying to ready for publication. As much as I wanted to maintain my integrity and reserve my editorial  copy to matters of considered cultural criticism and the arguing  for the greater good of all, as a practical matter my standards had to be modified when I decided to run a substandard, gossipy,  trivial bit of celebrity worship on my pages. Nature abhors a vacuum  and so do editors. The Village Voice, Down Beat, Rolling Stone, Filter, Pitch Fork, Jazz Is, all present straightforward criticism of musicians and their work, and the quality varies publication to publication, of course. A basic consideration, though, is that back in the day, when  music, basically rock and roll, was considered a force for change by the media that tried to understand it, we saw a rise in earnest young intellectuals--Paul Williams, Greil Marcus, Robert Christgau, Jon Landau, later Lester Bangs--who took the music seriously and attempted to essay forth the underlying movement of history in the notes played and the rhymes sung. This gave us a particularly potent kind of literary commentary; there was a lot of good writing that came out of that. Moreover, though, much more nonsense written for music criticism, and  it appears that readerships no longer believe that music, as such, represents a Hegelian transformation of History; it meant a good time, period.  The basic message is that cultural commentary of the highest regard will dominate the arts pages of general interest publications, online and off, only when the zeitgeist has us believe that music and art in general have a meaning and direction that is more, much more than the technical achievements . I think we need critics, informed , passionate and committed critics, to discuss and eventually provide readers with articulate view of works of fiction, drama, movies, visual arts to give one context, stylistic analysis, author /musician/poet/playwright (etc) theme tics and development there of, and how well the current subject of review stands up , merit-wise, with the best of the artist's body of work so far. This is more academic, I suppose, than merely "reviewing", which tends to be terse consumer guides that opine on much bang for the buck a consumer gets. I've gravitated toward more long form, deep dive opionists--Kael, Christgau, Greg Tate,Walcott, Stanley Crouch, Sarris , LeRoi Jones--who incite disagreement but who , nonetheless, provide the basis of conversation and points where informed dissent can expand the conversation. I buy music, books, go to films and attend poetry readings (and the like) because I enjoy having my assumptions of form and coherence tweaked. And I enjoy good writing about such matters as well. It's a cliche, yes, but a good critic, a great critic can make the art experience more meaningful.

 It makes for a dull time generally , I suppose, and limits nuanced discussions and general intellection on guitar solos and the genius of lyrics to a smaller, shriller, more adenoidal crowd of folks, but that is the spirit of the time we live in.The element of discovery is out of the equation, since no one has to look neither long nor far for music that  might interest them, the new sounds, the new vibe. Critics are no longer the explorers or explainers of new sounds . Everything is already found, and the smaller circles of pundits , it seems, find themselves aggressively agreeing with one  another, give or take an instance of ritual snark.

Why Alain de Botton is a moron » Spectator Blogs

Why Alain de Botton is a moron » Spectator Blogs:

 

Mde Botton as an "egghead", the sort of person who can "beat you in a pub quiz" with their eidetic propensity of remembering every detail they've ever read, but who has a personality that is all but lacking in true intellectual force.That is to say that for all the lifetime of reading across a wide swath of literature, art, philosophy, history, the savant doesn't seem to have synthesized anything resembling an interesting interpretation of what they've gorged themselves on. The knowledge seems only to have made the dull even duller, made their inanities even more colossally vapid. The aggravation among readers who have both read much of  the primary sources that a professional smarty pants like de Botton uses and who obsessively, even excessively aerobicise their grey matter by presenting their store of knowledge through an Olympic-quality regimen of speculation, elaboration and just good old fashioned bullshitting, is that the career labors of poets, philosophers , novelists and seers of all sorts is reduced to the trite, the tired, the tragically dopey. Their is an industry in all this reductionist activity; it provides a means for the lazy and the hurried and harried browser to believe that they've been exposed to Proust, to Sartre, to Homer, to Joyce, to Thomas Pynchon without having to actually read them. Roger Housden's poetry collection Ten Poems to Change Your Life .  is a gross vulgarization of an otherwise sweet set of poets whose authors were going for effects more nuanced than a reassurances that takinga  sick day when you're not actually ailing is okay. Literatureseems to have come under the sway of Stuart Swalley. Alain de Botton is a business man who has found out that there are larger paychecks for dispensing bumper sticker adages and homilies than there are in reams of abstraction. Which is fine, I suppose, he has the right to make the best living he can from the materials he chose to master.Funny thing is that this article reminds me of the notorious critic John Simon, a polymath of a nasty-assed reviewer who has an enviable erudition that has, none the less, failed to inspire him to a higher level of negative reviewing; his put downs are cheap, vulgar, sarcastic , mean for reasons that are more venal than they are descriptive of art that fails to measure up. Another "egghead", a large  set of references to underscore a resolutely  idiotic set of responses.
y favorite line in this piece describes

Snakes on a plain

I wrote this back in  2009 and it merits reprinting again, since it is St.Patrick's Day and my sour  views on the occasion haven't changed. Nor are they less valid. --tb

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It's March 17th again, and it's time to say again that I don't like being Irish on St.Patrick's Day. Being of Irish descent those who know my last name and aware as well that some consider me a poet, a lover of words used fully, have started to ask me what my plans were. Who’s party are you going to, what Irish Pub will you be drinking at, what Irish poet will you recite at the Open Reading of Irish Poetry?

Attending the idea that you would want to celebrate a culture rich in the greatest ringing glories of the English language comes the question about how drunk you intend to get, and will you remember the way back to your bedroom at your mother's house if you become unable to utter a comprehensible sentence. There are times I hate being Irish; the jokes at the expense of this culture make it obvious that White European Americans are the only ethnic group one can offend with impunity. The Holiday is a match to conspicuously open can of gasoline.

On The Day itself, many will inquire “Where’s your green?” All these questions on the single topic becomes nagging of a kind, the persistent inquiry into what someone else takes as an imperfection. My imperfection seemed to be that I didn't feel Irish enough. I don’t wear green on any day, it’s not my favorite color, and there’s a deep resentment at others who expect me and any other Irish American to play the shaleighlei -stroking trick monkey with green paper hats, green beads and affecting brogues as bogus as paper forks.

There’s a scene in Woody Allen’s movie “Annie Hall” when his character Alvy Singer berates a woman’s Jewishness with a number of wisecracks at the expense of the ethnic heritage he imagines her identifying with. The woman says nothing and Singer, feeling he’d crossed the line, gives a half-hearted apology for his jokes, to which she replies (and I paraphrase here) “No, it’s alright, I don’t mind being reduced to a cultural stereotype”

This was a “eureka” moment , since it articulated a foul mood I’d been in for years each time St.Patrick’s Day rolled around and Americans, of Irish Lineage and otherwise, rolled out their boxes of stereotypes: green beer, whiskey, green beads, glittered cardboard shamrocks, the whole disgusting offensive lot.St.Patrick's is a day on which those of us with family connections to the Emerald Isle are to relish the contributions of Ireland to the world by way of it;s poets and dramatists and novelists, whether Joyce, Yeats, John Millington Synge or Roddy Doyle and Seamus Heaney, an activity of worth if the proceedings were low key and attentive to what Irish writing sounded like and what cluster of emotions and experience it collectively expressed; it's a literature at war with itself and, as such, conflicts and tensions such as that results in a major poetry. Bombast, bottles and bullshit about all things Irish follow the lip service to the Literature, and St.Patrick's Day becomes no more than respectful of it's cultural name sake than does Cinco de Mayo or Halloween. It's an excuse to drink to excess and behave badly and be a lout. It was assumed that because of my last name and that I made a living both writing and selling books that I would be all over the Holiday and partake in the lugubrious, drunken wallow. I remember yelling at some partying moron with an Italian last name who was doing a miserable Barry Fitzgerald impersonation that I had it in mind to come to his house late at night and do some patently offensive immigrant through a bullhorn if he kept up with what I thought was a cultural slander. Of course he didn’t get what I was getting at, and I never showed up in his driveway to deliver on my promise, but the upshot is that he's never forced his face into mine after that with that wavering brogue.

I resisted the temptation to ask if he did Minstrel Show impersonations for black people on Martin Luther King Jr.'s birthday, as the point was both overkill and would be lost on him.Say what you might about me, but I pride myself on the quality of issues I waste my breath on, a perverse pleasure that might reaffirm the cliche of the Irish being masters of futile eloquence. Doubtful; I just love the sound of my own voice and don't compelled to credit cultural determinism for what is either a gift or a curse( depending on circumstance, inspiration, and the quality of the coffee I might have been drinking when inspired to place a few words on the page, in rhythmic order, declaring war on a latest peeve or pestering pustule of aggravation). It must be said that despite that small country’s amazing contributions to World Literature, I’ve never felt much kinship with Ireland, nor with the native Irish I’ve met. What I've felt like through my life is a middle class white guy, Irish American, emphasis on the American. Irish-American.It's a different tribe.

Headaches and Head Butts

There was an amusing story in Slate some time ago where the editors queried several noted critics about what they individually considered the most over -rated novels they had the misfortune to struggle with; the responses from a group including Amy Bloom, Stephen Burt, Tom Perrotta among others presented some dour words over a fine selection of iconic texts. The idea was like that of the collection edited by rock critic Jim DeRogatis, Kill Your Idols, where he asked a significantly younger generation of pop music critics to write devastating reviews of what was basically the Rolling Stone magazine canon of the Greatest Rock-and-roll Albums ever made.

Without going into detail, I will say that the anthology was a great idea that landed on the sharp rocks by one negative review after another;  virtually no musician or band was as good as older scribes had claimed, a conclusion  you expected given the title of the collection, but the sensibility was put down and sarcasm, cheap insults, a strained irreverence that , with the repetition of one review after the other, sounded practiced, more inauthentic than the alleged phoniness of the albums under review. It was a bad writing contest; the contestants vying to produce the most wretched Lester Bangs impersonation.

Bangs, though, would have none of this; he bared his soul; he argued his reasons, absurd or irrational they might have been. He was a great writer, a first rate wit and good critical thinker who was fast to notice when artists, whether musicians or writers , where getting by on the reputation more than the quality of their. The writers in the Slate feature are likewise cracking good wordsmiths; what makes their grim reminiscences memorable was the snappy, stylish economy of their stated misgivings, quick blends of anecdote, revelation, critical assessment, clear and damning. The point is that the Slate article is merely a chance for some payback:  tired of the praise Joyce receives, have you had it with Salinger’s name sucking the air from the room, do you think Pynchon is all sizzle and no steak? Here is your chance to put these elevated middlebrows in their place. What we get are smart people, good critics, staying in the shallow end of the pool.

It's interesting that  any highly touted book that doesn't  hold my attention 
gets reassigned to the 'over -rated" section of my book table, that stack of tomes I will give away, donate, sell as the opportunities arise. "overrated", though, is as overused a term as, say, "brilliant", "masterpiece" or "ground breaking"; hasty dismissals and instant praise without a cant-free discussion about why these judgments were rendered exposes the opinions as being as inflated as the book one seeks to bury . Or to rise. Time was when book reviews, even the reviews available in middlebrow magazines like Time, made you believe, even feel, the sluggish pacing and torpor a bad stretch of prose could have on a writer. These days the field dominated by wise cracks suitable for photo captions. 

Remarks are fine for the chitchat that comes with book group debates about the relative merits of emerging authors or the swan songs of authors who have died are seem about to; to disguise a selection of rhythmic grumbling as an article is something else. Our critical discourse is reduced to something you can read while going to the refrigerator for another O’Doul’s. Gertrude Stein told Hemingway that "remarks are not literature", and I agree, literature is writing at length and writing that seeks to achieve something more remarkable than what the water cooler/coffee pot/ Good Reads cabal of laconic pedants offer as commentary. 

Even criticism that takes literature apart and inspects the workings of fevered personality taken to extreme graphomania ought to aspire to the level of the best books it takes under consideration. As it goes, though, remarks and not essays are the preferred method of judging new books, old and older. Remarks are not literature, nor are they criticism, but it is what people seem to read as the computers become repulsively more portable. It's a bad cafe drink: just a rumor of coffee, lots of cream, sugar by the serving spoonful.

Sonnets for loose shoes and baggy jeans

I thought this small verse I wrote  was a decent attempt at the loose-fitting sonnet form, as practiced by Ted Berrigan and featured in Gerald Stern’s engagingly gangly book American Sonnets. The distinction between these efforts and the Elizabethan sonnets one parses in college courses is that the “loose-fitting” form (my phrase) is an attempt to bring the particularly American instinct to confess and promote one’s idealized personality in free verse, ala Whitman and Charles Olson , with the limits a more formal structure. The results satisfy nearly no one but those who appreciate perversions of form, with the hope something new emerges. Sometimes something does.  A side comment, the phrase “loose fitting” comes from  the last time I bought a near pair of jeans, forty bucks  worth for one pair, a cut of denim termed as such, looser than what you  would normally purchase I suppose. It maybe a euphemism  for sizes intended for those recently widened in the     waist line and who tip the scale more than they had. None of this, though, ads gravit y to the sonnet, which is precisely what it is, nearly weightless, but nice all the same.

Sonnet 16

A sign of the cross and a sign on the door or just sign

yourself out if it’s a weekend pass you’re dealing with,  

sign yourself up for a moment in the sun when you

have your tax refund check in hand, give us some cash for 

the diversions that approach the distraction level

of morons who get their exercise reading the labels

on records as they go ‘round and ‘round on the

phonograph, signs of life in a living room, your parents

house and sofa, I am hiding behind a chair before the light

switch is flipped and a panic like business plans that come

undone where you signed a dotted line that ends up

being a perforations around your wrists, like you see

on butcher’s charts, you know, under the sign that reads

NO CHECKS, NO CREDIT, DON’T ASK.

Interesting, and as often happens on the forums, the first response to the poem brought something else in the poem to think about other than how well it works as an amateurs attempt at  more structured verse.  It’s a relevant to ask   how many people understand what’s  meant by an oblique reference  to phonograph record labels spinning around as they play. Good question. Who would have thought that LP's would be something that reveals your generation? I remember years ago talking to a young man , twenty years younger than I at least, about various matters. When it came time to say goodbye, I said "I'll see you on the flip side".

 He looked puzzled as we shook hands as asked me what I meant by "flip side". In an instant I realized that he was too young to remember long playing albums, vinyl, and briefly explained that before CDs records had two sides, side A and side B, and that the phrase meant the other side of the record. The long and short of his wasn’t crucial to anything at hand, nor was it that interesting to anyone, but it was informative that I was now old enough that some of the cultural references I'd been using for decades were now potentially incomprehensible to younger adults.

What the Huh?

Honestly, I Never Want To Hear The Word 'Huh?' Again | Claire Fallon:

'Being a columnist , a featured writer for a publication with the task of writing snappy, readable copy against often steep deadlines on what seems a ceaseless treadmill of contracted phrase making, is fraught with many casual terrors, those dreads that aren't life threatening but sleep disrupting all the same. The worst of these minor-yet-crucifying dreads is being bereft of anything interesting to say, not an insight,not a bit of wit, not an valid exception to an exclaimed rule. What to do? Complain about the chump change , the seemingly insignificant gaffs and quirks that irritate you without let up in your capacity as a literary(of a sort) professional . Witness the woes of Claire Fallon, a book editor for the Huffington Post, who recently found time (or had no recourse but )to write a snippy, windy squib against the word "huh".

It is an old formula for a writer who's obligated to churn out copy , to pick a verbal habit that annoys them and essay forth with how it violates the innumerable of correct and truly clever use of english, providing an anecdote or two , a recollection, fictionalized no doubt, about her assumptions from college days, and then to provide a number of preferable and , well, elegant substitutions than the crudity that is the word "huh".  You get the picture, it's a gimmee, as they call it, a fairly easy way to feel better than the rabble ; enter the readership into a conspiratorial attitude that makes you believe that you're more intelligent than the fellows and fellowettes around you. At least smarter about this insular bit of grammatical police work.

 I would have respected Fallon's effort more if she chastised user of truly egregious barbarisms, such as anyone saying or writing "uncomfortability" when they mean "discomfort" or utters "potentiality" when the unqualified "potential" suffices. There were so many other awful usages to get her dander up. Perhaps she was irritated because "you know" has been done to death as a subject of articulate complaint , and "WTF" is obviously not going to vanish because she chooses to vent. Best of all possible language tics to complain about would be, hands down, the uncontrollable urge of easily impressed crowds who shriek "OHHHHH.MY.GOD!!" seemingly everytime a new variation on otherwise routine widgets come out in a new color . It's not that I am religious--far from it, I am skeptical in most things, and classify myself as "curious agnostic", since aethieism is an arrogant pose at best--but "God" , conceptually, does require abstract thought and an grasp of a philosophy of  what the Greater and Greatest Good are in this life. If there is a God, why would you invoke his name in the order to announce that shiny things attract you and that there is no better way to dedicate your life other than yelping like a battered hound. In any event, I am hoping that Fallon's muse returns soon from vacation and  gets the cogs of  her imagination cranking again, full steam.

‘Detroit - An American Autopsy,’ by Charlie LeDuff - NYTimes.com

Detroit:An American Autopsy
by Charles LeDuff

I read this a year ago, and as a Detroit native I have to say that LeDuff's Hemingway-inspired , virtually verbless  prose style suits the ongoing heartache that is the Motor City.  it is a relief that the author refrains from being the  amatuer urban planner or statistic-infected wonk in order to project dismal futures or to propose expensive , long term solutions predicated on someone's willingness to raise taxes. That is another conversation and debate that would distract from LeDuff's strong points as a writer,which are an attention to detail, unspoken nuance, the voice of the people he talks to and the grinding despair of a seemingly doomed city. 

This reads like a novel, more or less, a writer's journey through a city that once thrived and was respected and now, due to basic and fatal human flaws of greed, racism, and generations of indescribably awful economic and political decisions, has diminished in all respects. Will  Detroit recover? LeDuff leaves that question alone; what he does is provide vivid portraits of some of its citizens who share an remarkable resilience to their collective hardship.  

The question "Detroit: An American Autopsy" is whether politicians, city, state and  federal, can look this cit in the eye and muster the political will to do something about it. This a gruff, bracing read, powerfully presented.

Google your face

The ripped-seam relativism of Post modernism is evident in the work of so-called New Journalists, whose cultural reporting used fictional techniques to tell fact-based stories, writers such as Tom Wolfe, Jimmy Breslin, Joan Didion, Norman Mailer, Truman Capote, and Peter Matthiessen. The school, if there ever was one, has faded as something one claims as current, but the flashy prose style and application of novel-like strategies remains influential. The method has left a trace that seeps upward through the soil and is absorbed, as an influence, by a generation of journalists nee bloggers, historians and social loud mouths who may well be unaware that loud mouthed application of fictional narrative structure to actual events isn’t something that was always with us.

The New Journalist were  post modern in their coverage of events-- whether the writers themselves were modernists in sensibility is irrelevant to work they did. The style defined, in the usual quarters, as the eclectic jumbling of categories and styles, the blurring of distinctions of generic distinctions, and transgressive of boundaries that were formerly considered sacrosanct, immutable, unyielding.  Some years ago that sounded revolutionary and seemed a lethal theoretical blow to the constructs of the vaguely described ruling class controlling the conversation and the terms.  There are masterpieces in the genre, yes, but a good amount of it reads agitated and shrill, written by writers drunk on adjectives and cheesy effects who tried mightily to goose a number of ordinary stories.

The work evident in Armies of the Night, The White Album, In Cold Blood, The Electric Kool Aid Acid Test, Fear and Loathing in Los Vegas, and other sublime and less-sublime examples of the approach fulfill what's come to be the givens, and even clichés of post-modern writing. It's not unreasonable to think that writers normally considered Modernists would take what's thought to be a post modern strategy in order to achieve perspective that normally form would make more difficult. Carrying about the matters involved in a story hardly disqualifies a work, or a writer, from being a post modernists. The cool, ironic stance that is supposed to problematize the conditions of narrative formation seems more as a pose critics who have a curious aversion for writing that is meant to illicit a galvanizing reader response: it sounds more like a good rap than good reasoning. The conflation of the irrational of fictional dynamics and the reasonable presentation of vetted facts is exactly the kind of writing literature ought to be engaged in, whatever slippery pronoun you desire to append it with. Being neither philosophy, nor science of any stripe, fiction is perfectly suited for writers to mix and match their tones, their attitudes, their angles of attack on a narrative schema in order to pursue as broad, or as narrow, as maximal or minimal a story they think needs to be accomplished.  New Journalism seemed, for many, not just history in a hurry but Philosophy on the fly. The attack on modernisms' arrogance that it was the light to the "real" beneath the fabrications that compose our cosmology, is grossly over stated, it seems, vastly over regarded: Pound, Eliot, Joyce, and Stein, arguably literary modernism's Gang-Of-Four, did not, I think, tell us in any specified terms exactly what that true reality was, or what it was supposed to be, but only that the by dicing up, challenging, making it strange and making it new could we challenge ourselves, as artists, and as readers that new perceptions, and new ideas about the nature of the world could be had. 

Individually , each writer had a different idea of heaven that they wanted the world to become--Pound was ultimately a befuddled, albeit fascist sympathizer, and Eliot became a conservative Royalist (and their anti-Semitism is problematic for anyone looking for real-time heroes)-- but so far as the principle thrust of their work, which was away from the straight jacket of accumulated literary history and toward something new and different that renewed the possibility of art to engage the times in an aesthetically relevant manner, is scarcely diminished in power merely because it came before.

In any event, New Journalists never as a group never referred to themselves as "post modernists", and the style, now faded some what, has been absorbed by the culture as an accepted style for very mainstream consumption. The news story-literary-narrative scarcely raises an eyebrow today. But the judgment of history has these writers, nominal modernists perhaps, performing the limpest of avant gard  gestures, interrogating the margins of genre definitions, and making impossible to regard news reporting quite the same again. 

THE AGENTS OF DESTRUCTION ALSO HAD AGENTS

Rock and roll is all about professionalism , which is to say that some of the alienated and consequently alienating species trying to make their way in the world subsisting on the seeming authenticity of their anger, ire, and anxiety has to make sure that they take care of their talent, respect their audience's expectations even as they try to make the curdled masses learn something new, and to makes sure that what they are writing about /singing about/yammering about is framed in choice riffs and frenzied backbeat. It is always about professionalism; the MC5 used to have manager John Sinclair, the story goes, turn off the power in the middle of one of their teen club gigs in Detroit to make it seem that the Man was trying to shut down their revolutionary oooopha. The 5 would get the crowd into a frenzy, making noise on the dark stage until the crowd was in a sufficient ranting lather. At that point, Sinclair would switch the power back on and the band would continue, praising the crowd for sticking it to the Pigs. This was pure show business, not actual revolutionary fervor inspired by acne scars and blue balls; I would dare say that it had its own bizarre integrity, and was legitimate on terms we are too embarrassed to discuss. In a way, one needs to admire bands like the Stones or Aerosmith for remembering what it was that excited them when they were younger, and what kept their fan base loyal.

It's not a matter of rock and roll ceasing to be an authentic trumpet of the troubled young soul once it became a brand; rather, rock and roll has always been a brand once white producers, record company owners, and music publishers got a hold of it early on and geared a greatly tamed version of it to a wide and profitable audience of white teenagers. In any event, whether most of the music being made by Elvis, Jerry Lee Lewis, and others was a weaker version of what was done originally by Howlin Wolf, Muddy Waters et al is beside the point. It coalesced, all the same, into a style that perfectly framed an attitude of restlessness among mostly middle-class white teenagers who were excited by the sheer exotica, daring and the sense of the verboten the music radiated. It got named, it got classified, the conventions of its style were defined, and over time, through both record company hype and the endless stream of Consciousness that most white rock critics produced, rock and roll became a brand. It was always a brand once it was removed from the black communities and poor Southern white districts from which it originated. I have no doubt that the artist's intention, in the intervening years, was to produce a revolution in the conscious of their time with the music they wrote and performed, but the decision to be a musician was a career choice at the most rudimentary level, a means to make a living or, better yet , to get rich. It is that rare to a non-existent musician who prefers to remain true to whatever vaporous sense of integrity and poor. Even Chuck Berry, in my opinion, the most important singer-songwriter musician to work in rock and roll--Berry, I believe, created the template with which all other rock and rollers made their careers in music--has described his songwriting style as geared for young white audiences. Berry was a man raised on the music of Ellington and Louie Jardin, strictly old school stuff, and who considered himself a contemporary of Muddy Waters, but he was an entrepreneur as well as an artist. He was a working artist who rethought his brand and created a new one; he created something wholly new, a combination of rhythm and blues, country guitar phrasing and narratives that wittily, cleverly, indelibly spoke to a collective experience that had not been previously served. Critics and historians have been correct in callings this music Revolutionary, in that it changed the course of music, but it was also a Career change. All this, though, does not make what the power of Berry's music--or the music of Dylan, Beatles, Stones, MC5, Bruce or The High Fiving White Guys -- false, dishonest, sans value altogether. What I concern myself with is how well the musicians are writing, playing, singing on their albums, with whether they are inspired, being fair to middlin', or seem out of ideas, out of breath; it is a useless and vain activity to judge musicians, or whole genres of music by how well they/it align themselves with a metaphysical standard of genuine, real, vital art making. That standard is unknowable and those putting themselves of pretending they know what it is are improvising at best. This is not a coherent way to enjoy music. One is assuming that one does, or at one time did, enjoy music.

All entrepreneurs are risk takers, for that matters, so that remains a distinction without a difference. What matters are the products--sorry, even art pieces, visual, musical, dramatic, poetic, are "product" in the strictest sense of the word--from the artists successful in what they set out to do. The results are subjective, of course, but art is nothing else than means to provoke a response, gentle or strongly and all grades in between, and critics are useful in that they can make the discussion of artistic efforts interesting. The only criticism that interests are responses from reviewers that are more than consumer guides-- criticism, on its own terms in within its limits, can be as brilliant and enthralling as the art itself. And like the art itself, it can also be dull, boring, stupid, pedestrian. The quality of the critics vary; their function in relation to art, however, is valid. It is a legitimate enterprise. Otherwise, we'd be treating artists like they were priests. God forbid.

short exchange

My friend Burt,whose real name is something else, wrote me this:

Talent is something of a cultural construct, is it not? There are times when those who constructed the Western Canon would not allow a work to be entered because of its subject matter and the disreputable pedigree of its author. Standards of talent are hinged to artistic value, which must speak to the concerns of the moment.

The condemnation of risk-takers and canonical violators of all types is as old as written civilization. I have no doubt that the elites of Sumeria smashed any tablets that attempted to challenge the supremacy of Gilgamesh.

True, there is a lot of trivia and self-indulgence clogging up the taste-filters of today.  But the enemy has NEVER been from the outpourings of unfiltered individuals. Those who uphold the rigid standards of the past – whether set by Tender Buttons or the King James Bible – are the foes of a vital cultural life. It's the cultural pontiffs -- not the punks -- who deserve our skepticism and often our disdain. 

I responeded thusly, if not promptly:

I agree with your general assessment of the risk/talent dynamic, but I would venture further and argue that we need to skeptical of anyone's say-so and disdain any set of world-shrinking absolutes. Cultural pontiffs--choice phrase, Ace--often enough start off as punks and wind up giving us revised histories of their salad day heros by arguing at length that the music, the novels, the plays and the poetry they liked in college and early professional life didn't try to smash rules, break forms or set fire to the palace , but rather tried to return art and aesthetics to principles that have been dormant, abandoned, forgotten.

Eloquent apologies for one's formative taste, though, does not constitute a defense of the starker, more brittle frameworks that have dissolved like so much sugar in the guise of avant gard impulse; I am all for risk taking and rule breaking, but even the nastiest, least comprehensible bodies of work created by suitably sociopathetic experimenters there are things that catch your ear, your eye, your fancy as you read what's in front of you, there are measures of genius that find that one thing in experience, that issue that no one had engaged, that combination of forms, ideas and attitude that had yet to be combined that strikes you a get level as real genius.

I think these elements are genetic, organic, a hard to phrase dimension of human experience that transcends , easily , the problematic situation  of social construction and canon making. This is why I tend to support subjective or heroic criticism--the critic less as taste maker than as someone who gathers their responses, knee jerk and reasoned both, and conducts an inquiry to his own first-person criteria as to what constitutes failure or success in a frame, in a line, in a string of musical notes.Delete

Every Bad Guy Wore a White Hat

On a level more reptile than it is Descartes, I agree with the idea that experience was more nuanced and greater meaning in other years before technology encroached on that private psychic space we and made our pleasures less joyful, cheaper, less resonating, but that level would be emotional, not really sociological. It would be a space where we would subjective to the point that there was only one subject, each of us individually isolated with our harvested anxieties and carpentered neurosis. As metaphor, our existence would be akin to a many storied flop house where you don't see the residents , but you are a witness to other evidence of great minds turning on themselves, mostly with aromas of burnt food, unflushed toilets and what sounds like several people rocking back and forth continuously on noisy bed springs, all night, all day, until the end of time or sleep overcomes  you at last.

History, in a very strong sense, has been technology and capitalism 's constant debasement and de-centering of the personal, the meaningful, the authentic; gadgets of all sorts, whether the printing press, radio, movies, television, public universities, have reduced previous centers of cosmology-cohering , rearranged social arrangements between classes and institutions and made everyone with half a wit rethink what they thought they knew and construct their own version of being thrown out of Eden. And the same naysayers to progress--progress in this sense being neither positive nor negative but rather being inevitable, unavoidable despite the appearance of resistance-- that what was in place was better because things were slower, richer, more nuanced.

Yes, quantity changes quality, but Engels, credited with coining that pert phrase, neglected to add that change needn't be for the worse; in many cases it can be argued that technology , with its capacity to create new kinds of contexts in which experience is had, registered and expressed, has improved quality. More often than not, though, my guess is that what Engels and Franzen miss is that things change because they have to--change is the only constant--and that however much we want to regard ourselves as a culture of educated , discerning individuals, we have a herd mentality; men and women are species being who behave as such.

Our principle difference with other animals in regard to our basic responses and reactions are that we language skills that helps create the philosophy and art that helps us believe that we make everyone of our decisions through the choice use of free will. Some of us are smarter than others, though (yes, I believe that) and one is tasked with making the best choices about what to WITH the new technologies rather than grouse and complain that something need to be done ABOUT the new world that is constantly unfolding. Franzen is not a moralist about good virtues and a better life that is now gone, he is an obsessive crybaby who trades in nostalgia as a means of making himself distinct from other literary sorts who want to be cultural critics . His mourning over an idealized past isn't a moving paean at this point, its shtick.

Finding Corn in the Pone

"Sewage Has It's Say", a poem by Steven Cramer, stinks to the highest reaches of irony, and it's a fine thing too.A monologue in essence, the essence of which is the voice of what we consume processed and reduced to it's fouler essences in turn. This is the food we eat and the drinks we imbibe with all the cosmetics of preparation removed, after all the benefits (nutrition, energy) and debits ( obesity, high blood pressure) have been had. Insulted, railed against, invariably used as a pejorative, equated with the foulest intents and deeds a race is capable of, sewage finds it's voice, it talks back to the world that is other wise obliged to consume and make crap and crud an unavoidable consequence; there is hypocrisy here, the fetid mess proclaims, everything winds up in this repulsive stew:

Give me roots prying into the joints
of your main waste line, Charmin
thickening her web first to a nest,
then to a dam, and I'll sluice in reverse,

top the basement tub and spill
into a poem! Damn! I've sunken
to new heights! Will you take
a hint and stomach your disgust?

What does The Thinker look like
he's doing? How come Luther heard
God's thunderclap of justice via faith
whilst sitting on the privy?

Steven Cramer has an especially acute wit to imagine a dark mass taking on a voice one could imagine being intoned by a hammy Shakespearean actor intent on over-emoting the lines, a misunderstood and maligned end product talking shop with a product , Charmin, that's ostensibly dedicated to wiping it out. But wipe as much you can, the stinking sludge maintains, you will become part of this flushed proletariat, these breakdowns of food stuffs, fecal encrusted tissues, diapers, sanitary napkins, condoms, illegal drugs and syringes.

At the heart of the matter is that is we really are what we eat, echoing an otherwise stale counter culture cliche, and regardless of how we gussy up the chambers with spray-can aroma, disinfectants , no matter how much art and artifice we set around our dinner table preparations, regardless to what extreme we pervert language to raise our collective self image and have our race be at the top of the food chain, we are in the food chain none the less, inseparable, consuming vast amounts of products to keep the mortal body a going concern, producing waste in all varieties, forms.

You know...where love's pitched his mansion, so
don't shower so much. Squeaky clean's
for mice. No soap's got enough tallow
to wash out the mouth mouthing off.

What made you so ... nice? Polite's
kind of like death, isn't it? Okay, not
quite. But consider this, my sweet kin
in excretion: to flies we taste like candy.

Whether it's The Thinker or Theologians considering the feasibility of a personal God, everything resembles the process of taking a dump, a long and ponderous crap, the moment when every idea one has absorbed in passing finally passes through us, if we're lucky enough , leaving only that bit of nutritional purity that has helped us grow, come up with an idea, an invention, a poem that is truly our own. Steven Cramer's personification of an unspeakable and limitless mass of stinking waste as having a voice to raise in it's irony-citing defense is an excellent bit of wit.

The literary references are less self conscious than such citations usually are since his point is to reduce the space between humanity's greatest conceit as an elevated species and the inevitability of it's least appealing biological requirements. Everything is shit, like it or not, all is waste, the finest poems become sludge. One needs to embrace the fact, if not the cistern that contains the messenger.

Perfect Pitch

The similarities between William Carlos Williams and Robert Frost there , indeed, in the sense that we have two poets who have created a style of plain writing–writing, not speech, as neither poets are poets who attempt idiomatic epics– that want to get something of the grit, grime and grumble of life that previous generations of poets had theorized out of countenance, For myself, it is Williams who is the better and more bracing the two scribes, as I remember a passing remark from WCW suggesting (I paraphrase) that the thing itself is its own adequate symbol. Where systems of metaphor, allusion and simile were busy comparing this existence to more perfect orders and had essentially argued that real objects in the material world were irrelevant to the poet’s task of constructing arguments for a more perfect union of elements , Williams and his fellow travelers in Pound, Eliot, HD , Amy Lowell and a host of other nascent modernist bringing their own experience and idiosyncratic notions to the discussion, mutually agreed that metaphysics was suffocating poetry, robbing it all worth and potential to create beauty from freshly expressed perceptions; the perfect world of Ideal Types needed to be forgotten about, at least for a while, while the language poets used was reinvigorated , reapplied, basically reinvented as a creative force. The thing itself is its own adequate symbol.

Yes indeed, and this was a declaration that for the purpose of writing a poem that addresses the actuality of a scene, the phenomenological exactitude of objects and their situations, God was dead and it was the job of the new poet to get it right. Much of this imagism, a splendid but blessedly short-lived movement in modern poetry that wanted to excise extraneous words and metaphors and gutless qualifiers from poems that are tasked with getting this world and its things correctly expressed in unforgettable ways. No ideas but in things was a battle cry they might all have heard in their subconscious at one time; it rang loud, in any case.

____________________

FINE WORK WITH PITCH AND COPPERNow they are resting
in the fleckless light
separately in unison

like the sacks
of sifted stone stacked
regularly by twos

about the flat roof
ready after lunch
to be opened and strewn

The copper in eight
foot strips has been
beaten lengthwise

down the center at right
angles and lies ready
to edge the coping

One still chewing
picks up a copper strip
and runs his eye along it.

________________

Williams was a superb, brilliant exponent of this pared-down approach; his sentences are prickly, full of splinters, a description of action that contains rhythm , movement, precise descriptions of things that give a strong suggestion that the arrangements of the things in the world are extraordinary as they are, even when they unseen by human eyes and egos that translate the experience into easy narrative tropes; what is splendid about this poem, “Fine Work with Pitch and Copper” is the lean and lyrical economy with which Williams gives us a good amount of detail; workmen on a break, the materials, and tools they are working with laying to the side, the light and time of day, the return to work, the steady hand of the workman who lifts a piece of the thing he is working on:

“One still chewing
picks up a copper strip
and runs his eye along it.”

Without fuss, commotion or straining rhetoric, Williams achieves a stark beauty, with his notion of taking his sentences and breaking them into smaller units of clear signification working subtly and directly to bring us to the startling last lines, “picks up a copper strip/and runs his eye along it.” That, for me, was a dicey image, since it suggests the grim prospect of having an eye poked out with hard, sharp, unyielding thing. But without the blathering on about courage, craft or anything else left and right intellectuals have romanticized about for decades before, Williams accomplishes one small thing that, in turn, went a long way in revolutionizing how poems come to be conceptualized. He achieves that fine balance between hard and soft things, he makes it tactile, he delivers his poem with such skilled brilliance that most readers miss it even after multiple readings.

Ballad of a thin man

The greatest gift the internet has given us is that it has made the stuff of our collective teen years, our conquer-the-world years into the stuff that is retrieved from that attics, basements and from the garages of  memory and posted on the social media one a user’s choice. We get to oohh and ahh   or groan with embarrassment over how wonderful or, on reflection, how preposterous the playthings our younger selves are in retrospect.  Barry Alfonso, writer, journalist and cultural historian par excellence, posted this on a site. I laughed when I witnessed this items reappearance, an album of Sebastian Cabot, gentlemanly English actor best known for his work as Mr. French on the hokey sitcom “Family Affair”, reciting the lyrics of Bob Dylan. This was, of course, intended as an inspired jam session in which Dylan’s worth as a poet was established without equivocation. The equivocation remains, though, as the results are a classic case of belated comedy. That accent and that acting style can't help but sound incurably absurd considering the kind of poetic vernacular Dylan, an idealized form of street jive. 

The problem is made worse in that Cabot's actorly dramatic pauses, his stressing of certain syllables over others in a line, the rising and falling of his voice as though in actual conversation, is just the sort of thing if you're dealing with the multi-rhythmic beats of Shakespeare, Marlowe or, say, Elmore Leonard; there is more for a man with a trained voice to work with. A parallel example would be that it is more interesting to hear Miles Davis improvise on "My Funny Valentine" or "Someday My Prince Will Come" rather than "Time After Time" or "Human Nature." Genius lyricist as he has been over the decades, Dylan’s lyrics is not stand-alone poems, as they require the melodies to achieve their full power. Cabot is game in trying to make these words seem larger than they are, but it is a ridiculous combination. 

The comedy is as unintentional here as it was in "Plan 9 from Outer Space"; since it was a "hip" thing at the time this record was made to insist that Dylan was a poet, first and foremost. Since this was the conventional wisdom at the time, it was also a selling point and doubtlessly some record exec had an idea that they should get a "real”, i.e. British actor to recite Dylan's words. Sebastian did what did best; apply his voice of refined elocution, to what Dylan did best. The results are a conspicuous mismatch, I think, and don't sense anything purposefully subversive, intentionally comic, or post-modernly ironic about this. It is funny in the way the pursuit of an innocently bad idea is funny--the awfulness is obvious to everyone but the participants, who've been seduced by their expectations.

Enigmas don't shop in their pajamas

There is an ongoing project among a current generation of critics and poets to make the ever baffling , provocative and incontestably brilliant poet Emily Dickinson a less problematic figure in the American literary terrain. Famous for her reclusive lifestyle and extremely selective preferences as to who she had personal contact and communication with,  some effort has been made to make  her a more human, more public figure. The publication of the handwritten "envelope poems" is the latest in the trend to bring her into the sunshine. I welcome the addition of more , previously unknown verse to her body of work, but the insistence on publishing them with careful rendered photos of the actual pieces of paper to be evidence of a growing fetishism; it seems less an effort to bring more insight into the words than it is , say, for an obsessed reader to imagine a real person who might have written these things in states of meditative reflection. That makes the book more stunt than an essential unveiling of  unknown poems. I wish there was a book merely with the poems printed, without the clutter. Here the result, for this   reader, is that the more I find out about her, the less is revealed. 

 Emily Dickinson was cryptic for reasons known only to herself, I’m afraid, but I am of the mind that she intended her compact lyrics to be interpreted any number of ways. Irony, contradiction, revelation; her poems move along general the general theme that one’s thinking, Dickinson’s, evolves with time, gently or brutally, and that the time to be a witness is finite. Nuances and whispered implications abound in her work and, beyond a loosely gathered bit of conventional wisdom about ED’s general themes and concerns; there is plenty in her work to warrant continued, fascinating and inconclusive opinions about where the center of the poem, its motivating core and precise particulars lie. But what is also fascinating and important to speculate is what’s not included in the poem; what is outside the text is a worthy subject of investigation/speculation.

 It is an element that makes ED contemporary to this day, as a body of work that still resonates with a modern readership discovering a wit, an insight, a corresponding feeling in her splendidly fragmented manner. My information is nothing else but my own reading gauged against my own experience, both as citizen and poet. What I’ve said I have found in the text, really. Literary commentary, of course, is not science and it is particularly pointless to insist on anything like “back to the data”. Historical context for poems is fine for perspective, but language is a living thing, not stagnate, as you know, and ED’s word choices. I am convinced that there are meanings in great poems that those most great poets were entirely unaware; poetry is an intuitive process however much a crafted discipline comes into play. There is the superficial element, the glitter, the dazzle, the alluring set of phrases that seem to say one thing, and then there are things that combined suggest and point toward matters perhaps the author might not have been aware of, let alone the reader. That is the joy of criticism, a rage of interpretative opinions based on the text. I fairly much reject definitive, “authoritative” interpretations of works of art. 

Wings of Desire by Amy King

'

Wings of Desire  / BY AMY KING

This is what it sounds like outside,
fat geese and guinea hens holding hands.
I am 31, which is very young for my age.
That is enough to realize I’m a pencil that has learned
how to draw the Internet. I explain squiggles
diagramming exactly how I feel and you are drawn to read
in ways you cannot yet. Slow goes the drag
of creation, how what’s within comes to be without,
which is the rhythmic erection of essence.
Life’s little deaths, petite orgasms, as the French nearly said
but never came to. Feathers outstrip the weather
as we stand with binoculars inquiring how
winged creatures can hold their blood to warmth
without a proper insulation system overlaying circulation.
That is, sans fat and simple wooden bones with hair glued on.
Mostly though they pulsate on the horizons of backlit vision,
where we only meet the subways with handshakes,
the rainbow filters of downloaded electronica,
the telephone poles as archaic checkpoints to past cultures.
They don’t have screens to seek their cues in.
We drift from one culture to another and fight
the stitcheries of racism, classism,
anti-Muslim terrorists among us,
with overlaps in the complete dis-ease our bodies
settle into for next to no resistance.
So we create something else.
As in, roughshod moments of fake hate
will position a fluid hello of death rattles
that settle for the injunction of existence and state:
Here am I made manifest by not being you,
by not going in the same unsteady destination,
by not asking the questions or repeating
the paintings that came before me,
by not singing in the register of  your bubble baths
as you hug that person close in a wish to outlast
bullets, even as the light leaves your eyes
just a little next time we overlap paths.
So the hens and geese make us think in terms of help
outside, how they flap and move with fat ease in front of trains,
across the chopping block, to the hungry winters of final leviathans,
even as they land just so on the wires above us,
and we go on complaining, murderous, too far out, unspoken.

Like the man said and the woman toasted, this poem is a stream of hot verbs, adjectives and metaphors that link the perennial  quest for self-definition with the blunt truths about realizing that the world is merely a unsolvable phenomena that cares less of our unique personalities and exists only as a plain where other self-defined entities meet and learn to get along and love or to further dig in their teeth , gnash their respective rows of teeth and fight, with bricks, with bottles, with sex, with words. It is a struggle either as negotiation or war sans army  or navy, the playthings of the interior world come into the waking life and those of us with the habit of insisting that first thoughts are the best and most accurate find out rapidly or in drawn-out decades that it is not enough to express yourself or exclaim your philosophy of the moment to an existence that is abstract and other, it is more a matter of being yourself in  the midst of circumstances that don't know your name, of relating less theory to the community around you and more of the insight of lived experience , of  having been wrong and right in equal measures over the years and finding a true irony that allows you and the world to lean closer together, as if to kiss, to hug, to rejoice in the presence of people and places that don't repel you with secret identities and unspoken alternate plans. Amy King is a fevered search not for the absolute, for the genuine.

 What I love about Amy King's poems is the collisions she sets forth, the speed of her connections, how often her observance of the commonplace strikes a target, how fluidly accurate her remarks are, how truthfully dumbfounding the ironies are.  "Wings of Desire" is all of this, of course, a debate those parts of the self that want to rule an interior perfection where it is always elegance at a whim, and the those other elements of personality that look out the window of the soul to world that it wants to be a part of, to be in love with, to conquer, to change and to merge as one with. Hers is a detailed Baedeker guide at a little over the legendary 45 RPM; it's hardly a matter of noticing telling details of the constructions, social and material, that form the resemblances between our Ideal Types and their expression on the Physical Plain, this is also a series of voices from inside the perception that sees the flaws in the design, the dysfunction of the results, the turmoil the best intentions create. Here is poetry about shaking your head, running your hands through your hair, gathering your wits and deciding, after road-testing your theories for decades, to be yourself, finally, unashamed of your talent, unembarrassed by your desires. You cease to be a problem to solve. Like a poem, you do not mean. You be.

 Amy King is fast and blunt and writes in lovely, magnificently fast lines that are something like the quicksilver bebop of Parker, the modal transformations of Coltrane, the hard-shovel digging of a McLaughlin; in all this accelerated, excited revelation, though, is tenderness, the center of the heart that is at war with its own contrary impulses, a consciousness that seeks the true center of being in the eyes of others it seeks to be connected to. King's is a poetry of that desire and those mad flights. Her poems are about love and touching, groping, kissing, caring, finding a truth beyond words that cures the senses. Her poems are manic and magic and the sort of thing that gets me thinking and back to the keyboard, writing my own crazy language.

At risk

Culture is worth a little risk, as Norman Mailer would have it, but we should add that that we need to skeptical of anyone's say-so and disdain any set of world-shrinking absolutes. Cultural pontiffs often enough start off as punks in the alley hanging out by the stage door and wind up giving us revised histories of their salad day heroes by arguing at length that the music, the novels, the plays and the poetry they liked in college and early professional life didn't try to smash rules, break forms or set fire to the palace , but rather tried to return art and aesthetics to principles that have been dormant, abandoned, forgotten.

 Culture is worth a little risk, of course, but there are times when culture is the risk.Mailer's quote, originating in his seemingly glib response to convict /  author's Jack Henry Abbott's murder of a waiter not long after he'd been paroled on the Authorities belief that he had rehabilitated himself by becoming an author. Mailer, we remember, had stabbed his wife Adele and nearly killed her. The books he wrote following this heinous incident were in large measure sincere and often brilliant mixtures of existentialist self-definition, mysticism and imaginative takes on the psychology of violence, of how it is often the result of the lone m person without means who attempt to berserk themselves into transcendance. He had given us one  fantastically problematic novel, An American Dream, in which his hero defies the combined forces he imagines have conspired against him and aspires to become a "new kind of man". The  consequences of that saga are anything but reassuring , especially for Mailer himself.  One of Mailer's heroes, William S.Burroughs, drunkenly shot and killed his wife Joan i when trying to shoot a glass off her head with a pistol. There have been times, more often than not, that I  wish the pontiffs , the pundits and the writerly men of action had stayed with their pens and pages and left the guns for the truly deranged who didn't care a wit about art or a nuanced philosophy behind their violence. Here we pause and wrestle with our conscious  and ponder if we can compartmentalize our horror for the acts these writers commit and still esteem the  brilliance their writing has challenged our bed rock assumptions with. In either case, these patently evil and insane events were motivations for the future prose of both writers--Mailer commenced on a life long inquiry into the spiritual malady that makes violence the preferred means to move events along in society , and Burroughs, not the most expansively regretful man in show business, as much said that the accidental murder of his wife Joan was the reason why he wrote from that point forward. Wrote Burroughs:

I am forced to the appalling conclusion that I would never have become a writer but for Joan's death, and to a realization of the extent to which this event has motivated and formulated my writing. I live with the constant threat of possession, and a constant need to escape from possession, from control. So the death of Joan brought me in contact with the invader, the Ugly Spirit, and maneuvered me into a life long struggle, in which I have had no choice except to write my way out..

Both men seemed to continue writing in order to buffer themselves against acts that were  irrefutably ugly, evil, foul; the sheer process of making the world a  new, over and over, with their fiction, of combining different elements, subverting some genres and extending others, of making the fact of existence a cruel and painful process through which we conduct ourselves with some modicum of grace and invention, or relinquish our wits and allow strange and  powerful forces to manipulate our lives and  make a a mockery of what intellectual integrety we thought we possessed. the respective bodies of work of Mailer and Burroughs seem, to me, a heads up to the reader that they are at risk for merely being born, univited, in the middle of someone else's agenda. And the critic, the pundit, the explainers of art that offers no solace nor comfort, make a career practicing an extemporized philosophy that translate the literary horror and bludgeoning poetry of writing that seeks to make the fairy tales and their tragic ends palatable by acting as if there is a lesson to be learned. A doomed practice, I suspect, as I see day when we will have no real use for priests, film reviewers and reviewers who think they are priests . Eloquent apologies for one's formative taste, though, does not constitute a defense of the starker, more brittle frameworks that have dissolved like so much sugar in the guise of avant gard impulse; I am all for risk taking and rule breaking, but even the nastiest, least comprehensible bodies of work created by suitably sociopath  experimenters there are things that catch your ear, your eye, your fancy as you read what's in front of you, there are measures of genius that find that one thing in experience, that issue that no one had engaged, that combination of forms, ideas and attitude that had yet to be combined that strikes you a get level as real genius.

 I think these elements are genetic, organic, a hard to phrase dimension of human experience that transcends , easily , the problematics of social construction and canon making. The secret history of art history, the  secret history of artistic expression, is how much social misery the creative impulse has caused. This is why I tend to support subjective or heroic criticism--the critic less as taste maker than as someone who gathers their responses, knee jerk and reasoned both, and conducts an inquiry to his own first-person criteria as to what constitutes failure or success in a frame, in a line, in a string of musical notes.