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On Duplicity and Desire

Culture

Lauren Caldwell

Poets want things. There is a degree to which this notion runs counter to that of the common reader of poetry (provided such a thing anymore exists: let us say instead dull, or lazy, or naive). Perhaps this is due to precisely the notion that Arensberg (among others) articulates. The poet is a good liar or a master of equivocation and obliquity or he is not a poet, or at least a very poor one. I would challenge you to uncover a poet who is neither a liar nor an obfuscator. One could argue this obliquity a sign of cowardice, but it is more accurate generally to think of it as encrypted utterance accesible only to those with the proper key—and those are they who have what the poet wants.

A Twisted Affinity: Byron and Keats

Culture

Lauren Caldwell

Byron’s virulent hatred of the young “Johnny Keats,” as he derisively styled him, may have been (as some have claimed) inexcusable, but it is certainly understandable. The problem is obviously one of class; but class alone is not enough to account for the phenomenon. Unless the aristocrat felt the upstart poet a threat, his hatred seems misplaced—after all, Keats garnered more than enough negative criticism from his other reviewers. Keeping in mind the uneven ground of class, then, let us consider the poets on their common—and I use the term with deliberation—territory: poetry.

Paul de Man, Literary Materialism, and the Critical Heritage of Romanticism

Culture

Lauren Caldwell

The very fact that Paul de Man would edit a selection of Keats’s work is matter for critical reflection.

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