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Notes Toward a Gone World: Basic Premises About Literature for The Scene

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Intercepted by Gravitation, Paul Klee

Here is what I believe, and everything I write or do on any of my blogs or in any of my books is predicated on these simple principles.

  1. A work of great art is the ultimate act of human creativity.
  2. Great art celebrates by its mere existence the divinity that is part of us all.
  3. Great art celebrates by its mere existence the best and greatest of our culture.
  4. The best and greatest may not be what the Establishment thinks as the best and greatest.
  5. The Scene celebrates the best and greatest radical poetry and literature of Western Civilization.

 

Notes Toward a Gone World: The Subversive Nature of Art and Literature

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February 23, 2017

I have started out all my blogs with this post–or manifesto, if you will. Just to establish from the beginning of The Scene, this is what I believe.

Art, literature, is by its nature subversive of its contemporary social and economic order.

  • Art is contemptuous of philistine values.
  • Art is elitist. But the elite are not those of the conservative middle classes since these classes have no use for art—not real art. Members of these classes have conventionally been call philistines. The philistines now rule the United States and Britain.
  • The elite are those who, while yes, technically are of the power, privileged class, can rise above and realize the vacuity of philistine values.
  • All true art subverts philistine values. The great masterpieces of pure beauty, of pure art for art’s sake, subvert by their very existence. The great masterpiece of pure art, of pure literature, screams out “I exist,” “I transcend.” Imagine a great piece of marble such as the Pieta by Michelangelo pictured above. Certainly, the piece promotes an intense devotional response. But in economic terms it serves no purpose beyond beauty. But who cares?  Nothing of that sort matters to philistinism unless it can be commodified.

So, when our friends ask us how to distinguish great literature from among all the books lining the bookshelves down at Barnes & Noble, ask them to pay attention to which books pledge their loyalty to the social and economic orders of the day and which pledge their loyalty to pure art. Which books are primarily commodities for philistine market forces and which aim to subvert commodification? These questions are easily determined and require no particular literary acumen.

Some big questions arising today in our postmodern period about art and literature are: Why does philistinism abhor the word “elite”? Can a work of true art collaborate with philistine values? Or, Who are the philistines? Can those of us who are serious in our own tastes about literature really escape our personal philistinism? (Alas, I wrestle constantly with this and usually fail.) Can philistinism coexist with democratic values?

Questions, questions, questions. I want to keep talking about these big questions in this blog. Join in. Follow The Scene.

Paul Varner

 

Early Considerations for The Scene

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You Know Me

Ok, you’ve written and published a lot about radical poets before, but who are you, Really?

Well, I’ve got pages posted at the top of The Scene with my semi-formal biography and with personal notes about why I ever got interested about The Beats.

But other than that, you know me. I’m just a writer like all of you know. I’m the guy you always see at coffee houses over in the corner writing furiously in my black Moleskine, dressed like a writer with funny glasses and wearing clunky boots. You’ve seen me everywhere. Don’t expect me ever to look up unless you come over and say hi. Then I’ll tell you what I’m writing about. Of course I may be writing about you. But anyway—you know me.

I’m going to use a similar voice to Ezra Pound in his ABC’s of Reading and Robert Peters in his Great Poetry Bake-off series. I will be personal, confident, not angry or anything, but not academic and not full of jargon theory. I’m not going to feel any need to back everything up everything I say and believe with hard evidence or whatever. Editors, critics, and peer reviewers like that sort of thing. But, you know, the Enlightenment was supposed to have gone out of style when the Romantics came on the scene. I also ramble a lot.

More early considerations to follow.

So follow The Scene and let’s get going.

Paul Varner