Poetry’s Old War

  • Jameson S. Workman
Part of the The New Middle Ages book series (TNMA)


It’s probably a crime against storytelling to begin a book with a list but, generally speaking, so is literary criticism. So I’ll also acknowledge as a plain fact that the following list should be much longer and its simple ‘trajectory’ more indebted to the complex migratory dynamism of the “Lobster-Quadrille”1 than the honest eschatology of the arrow. And I evoke that particular dance not just because it was more or less free in form and encumbered by empiricism but also because it was an international sensation that attracted dancers of wildly divergent talents and temperaments. Its only stipulations were to “partner up with a lobster,” toss it “as far out to sea as you can,” “swim after it,” “turn a somersault in the sea,” and that, “we can do it without lobsters, you know.” It appears to have been the creation of “the Classical master … an old crab, he was,” who “taught Laughing and Grief.”2 How it survived from one generation to the next is a subtle question. “‘Would you like to see a little of it?’ said the Mock Turtle. ‘Very much, indeed,’ said Alice. ‘Which shall sing?’ … The two creatures, who had been jumping about like mad things all this time, sat down again very sadly and quietly … ‘Oh you sing,’ said the Gryphon. ‘I’ve forgotten the words.’”3 Which brings us to the list.


Symbolic Order Classical Master Human Lover Poetic Vision Phantom State 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.


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© Jameson S. Workman 2015

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