By Richard R. Bozorth
The 1st full-length attention of Auden as a gay poet, this quantity indicates that Auden's occupation used to be tied to a strategy of homosexual self-interrogation extraordinary in smooth poetry and argues that he used to be pushed by way of a strong craving to realize the mental, political, and moral implications of same-sex hope. Auden's theories approximately poetry within the Nineteen Thirties and after mirrored an severe quandary with the way to write publicly as a gay poet. That fight used to be made appear in his love poetry, which Bozorth argues constitutes a type of "erotic autobiography" exploring the certain demanding situations of gay love.Bozorth's strategy is manifold, interpreting the poet's engagements with avant-garde poetics, homosexual way of life, psychoanalysis, leftist politics, and theology. This e-book proposes that from his early fascination with undercover agent and trickster figures to his later theories of poetry as an I-Thou relation, Auden considered poetry as a fictional yet primal erotic come upon with the reader.
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Additional info for Auden's Games of Knowledge
And as an allegory about closeted subjectivity, it undermines the expressionist assumptions about identity implied by a simple war to liberate speech and desire. The persona of the spy would seem to intimate a stable, secret self beneath the cover, but that stability dissolves in the second quatrain, where the spy’s own side betrays him: the enemy is within as well as without, so that any demarcation between friend and foe, public and private, is uncertain. The very secrecy necessary under a regime of censorship dissolves the subject into contending forces of desire and prohibition.
Qxd 5/10/01 14:12 Page 30 30 sexual politics and coterie poetry metaphysical implications. Characters speak so elliptically at times, in a parody of upper-middle-class public school slang, that they seem almost to be employing a strange dialect. The effect is such that, while Hearn’s narration periodically turns to quasi-impressionist internal monologue, one always feels that its semantic weirdness may serve social rather than metaphysical ends—that the words may encode meanings for specific readers.
3) In September 1973, W. H. Auden had died in his sleep in a Vienna hotel, and Reflections on Espionage acknowledges him not only here, with a code name that alludes to the mining machinery of his early work, but in its structuring conceit of poetry as espionage. What Hollander “knows” from Auden is that poetry is an activity of coding where reticences are giveaways. ” The figure of the secret agent resonates provocatively in Auden’s early work, and it is central to this chapter’s concern with the unspoken and the unspeakable, with obscure meanings and meaningful obscurities.
Auden's Games of Knowledge by Richard R. Bozorth