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Symbiosis

"...often, addressing problems head-on is not the way to solve them. Rather than seeking answers directly (while dwelling on a level where they do not exist and cannot be found) raise your energy and consciousness level until you are elevated to the domain where they readily present themselves -- where they come to you." Very well put as usual, AG--and I too am very glad to see Grant back! Hi, MsGrant! :) I am going to keep these words in mind too--as 'head on' has not always been the best way for me, either. As you know, I'm trying to restart my own failing 'career' path, and need all the inspiration I can get! And speaking of inspiration, that dance performance was amazing, and I love the words you wrote to accompany its themes. Both remind me of Pablo Neruda on solitude, who has also come to mind recently after Pike wrote an ode, and Goat3fish started a conversation about opposites. This is your blog, so I won't include my ode in response to these words: In its search for self-expression music sought out the choir's coral hardness It was written not by a single man but by a whole score of musical relations. And this word which I poise here suspended on a branch, the song that yearns solely for the solitude of your lips to repeat it-- the air inscribes it at my side, lives that were lived long before me. And you, who are reading my ode: you've used it against your own solitude. We've never met, and yet it's your hands that wrote these lines, with mine. ========= I look forward to working with you in future, to bring out all of the talents hidden in that kernel, split over and over in that marvelous personage we call antigeekess ;)
— November 11, 2009 2:18 p.m.

A Fear of Cold and Dark

I'm not sure if the battle rages on in the Literature department at UCSD or not, but when I was there as an undergrad, there was a struggle for power between well-meaning parties of differing pedagogical opinion, and basic ideology over what a literature department should constitute: Some felt that literary theory should not be taught, and that it would be at the expense, and even ghettoization of literatures of indigenous peoples, such as native Americans, and the burgeoning bodies of work, of non-canonical writers (meaning, non-American and non-British). Because literary theory derives not only from a tradition of criticism of drama, poetry or prose, but from perspectives from philosophy, anthropology, psychology, psychoanalysis, sociology, translation studies, and history—I believe now, as I did then as an undergrad myself, that it is important to continue teaching, and to teach more of these perspectives, as they have evolved over time. Goat3fish may abhor narratives of the so-called “Enlightenment” era, beginning with Descartes and continuing on through the southern poets who did great damage to our idea of what works should be “canonized,” namely, the “New Critical Poets,” who favored “old dead white guys” and poetry over prose, but I think they should still be taught, and contextualized, so that students may understand, at the very least, how contemporary writers effectively challenge these narratives, and incorporate struggle against them to form new poetics. A program that is inclusive of as much as possible can better prepare a student to evaluate for him or herself where s/he would like to take a stand in society and in the realm of literary study. To denounce all of academia is not only easy, it just makes no sense. Goat3fish, the irony here is that your only possible audience is academic—not many others are likely to pursue your own theses, or be able to contextualize them meaningfully, in the way you would like. Here is a link to Poe’s prose poem, “Eureka,” which contains his theory of the “cosmos,” and his theory of vision, which has influenced artists and writers beyond his role as the so-called ‘grandfather’ of the detective story, or mystery/horror story. While it is important to be aware of intellectually inherited racism, or “subliminal” racism, as goat3fish is calling it, and to trace out such themes within any piece of literary production, we need to keep ALL of the themes of its philosophical heritage in mind: http://xroads.virginia.edu/~hyper/poe/eureka.html A question for goat3fish: Have you ever considered using elements of the ‘deconstructive’ reading method of Jacques Derrida as a tool to uncover “subliminal racism?” What other methodologies or ways of reading have you explored, and can you perhaps lay out the basic features of your own methodology for us?
— November 11, 2009 1:49 p.m.

A Fear of Cold and Dark

Ok, I have a lot of work to do, but am going to take this a little more seriously, because I think goat3fish's theses deserve some attention. I’ll ask that in return, the invective, namecalling, and accusations of racism and academic ‘puffery’ stop, as they are not only way off the mark, they are more importantly, of no use to a productive discussion. Some people here might not be aware that there is an underlying tension between goat3fish's and my own points of view ;) Goat3fish, let me know if I have not characterized this situation to your satisfaction: I think you were a student at UCSD, whether you were enrolled or not. Perhaps you rail against academia because it was not a good fit for you, and you felt that your struggle against what you see as institutionalized racism in literary discourse went unheard or was perhaps criticized. Perhaps you did not receive the kind of feedback you wanted for your work—I can only guess. It’s up to you how far you want to contextualize your attitudes toward academia, and your own history. I’ll lay all of my own cards on the table, as I have absolutely nothing to hide, and am proud of my activities and achievements at UCSD. I write under my real name, and you can feel free to research my activities there: I belonged to a group called “Diversity in Action,” and we lobbied hard for stronger, better articulated affirmative action programs, as well as institutional changes to the literature department, to make it more open to non-canonized works. I also worked as a tutor for the OASIS center, and for the UCSD Bridge program, where we taught and mentored students of underprivileged or underrepresented backgrounds, so they might gain entrance to the university, in the programs of their choice. It might interest you to know that while my general education included a full range of literatures and theory taught under the aegis of generally Marxist-flavored “cultural studies,” I ended up as a kind of bricoleur, or literary jack of all trades, because my interests in a wide variety of literatures and critical perspectives led me outside of any traditional department’s confines. I won the highest possible departmental honors, and my thesis on the nouveau roman won the department prize for the undergraduate honors thesis. I am currently a grad student in comparative literature at NYU; though serious illness has prevented me for some years from even starting my thesis, I am recommencing work on it now (on the 1960s-early 70s writing of American artist Robert Smithson, specifically his play with boundaries of genre).
— November 11, 2009 1:47 p.m.

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