By Christoph König
Title note: The Philology of Poetry: From Goethe to Peter Szondi
Literary students and poets are like intimate strangers. They owe their closeness to literature and their alienation to their assorted courting to productiveness.
This publication examines Goethe, Friedrich Schlegel, Lonnrot, Hofmannstahl, and Szondi, between others. It analyzes the explanations for this alienated closeness and describes a convention that has formed the connection among poetic productiveness and philological understanding."
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American writers ought to stand and live in the margins, and be more dangerous. Writers in repressive societies are considered dangerous. ’’43 As if to emphasize this point, Mao II has the poet Jean-Claude Julien held hostage by a terrorist group. Gray, who is being recruited to secure Julien’s release, defines the role of the writer in terms similar to DeLillo’s. Through writing, authors ‘‘reply to power and beat back . . fear,’’ Gray says (M 200). Although one should be wary of too closely identifying an author with his character, Gray often seems to be a stand-in for his creator.
DeLillo’s recycling of both high literature and popular fiction and his defamiliarizing of specialized languages (of, for example, advertising in Americana , pop music in Great Jones Street , sport in End Zone , mathematics in Ratner’s Star) might therefore be read not as mere blank pastiche but as a deliberate foregrounding of the way that all experience is constructed through discourse. 26 37 PETER KNIGHT There are, finally, other ways of seeing how DeLillo’s novels might open up spaces of possibility rather than merely giving in to a totalized vision of multinational capitalism.
John Dos Passos, The 42nd Parallel (Boston: Houghton Mifflin, 2000), p. xiv. 13. 2 (2006), pp. 183–4. 14. Mark Osteen, American Magic and Dread: Don DeLillo’s Dialogue with Culture (Philadelphia: University of Pennsylvania Press, 2000), pp. 276–7. 15. See, for example, pages 17, 89, 173, 185, 289, 314, 408, 465, 540–2, 575, 577, 707, and 825. 16. E. M. Forster, Howards End (1910) (New York: Vintage, 1989), p. 195. 17. Morley, ‘‘Excavating Underworld,’’ pp. 178–9. 18. , ‘‘Introduction,’’ New Essays on ‘‘White Noise’’ (Cambridge: Cambridge University Press, 1991), p.