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The Leisured Classes single work   essay  
Issue Details: First known date: 2022... 2022 The Leisured Classes
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'My love of the world game and of world literature exist alongside one another. 1994 stands as a remarkable year when I both fell in love with USA ’94, watching Roberto Baggio sky the ball over the cross-bar to lose on penalties, and when I began reading novels on my own. In 1998, I watched France win while visiting family in Singapore, a true testament to adolescence, eating fried kway teow in front of the big screen, watching Frank Leboeuf and Lilian Thuram defend as though their lives depended on it, which they surely did. In that year, I remember with great fondness reading J.M. Coetzee’s Life and Times of Michael K as I began to find my way through contemporary writers who had won ‘Big Prizes’. By 2002, when South Korea and Japan hosted the World Cup, I had started making my way through the classics, from Kharms to Camus to Coleridge. And so, football and reading have always been about leisure to me.'  (Introduction)

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  • Appears in:
    y separately published work icon Cordite Poetry Review Cordite + Liminal no. 107 1 December 2022 25499437 2022 periodical issue

    ‘Criticism is committed … to helping us to understand poems as significant utterances. But it must ensure that in its desire to produce ultimate meaning it does not purchase intelligibility at the cost of blindness: blindness to the complexity of those non-meaningful features which differentiate poetry from everyday language and make it something other than an external thematic statement about an already-known world.’ (Veronica Forrest-Thomson)

    'I take my title and epigraph from Veronica Forrest-Thomson’s separatist manifesto, Poetic Artifice: A Theory of Twentieth-Century Poetry. First published posthumously in 1978, Poetic Artifice is more than what its unassumingly vague subtitle suggests. In addition to being a ‘theory of twentieth-century poetry’, it is also: an ABC of reading, an extended argument with the critic William Empson, a critical genealogy of technical innovations from John Donne to Dada, and a fanatically clear-sighted insistence that poems use language other than to exchange facts and observations about the world outside themselves. The ‘Artifice’ in Forrest-Thomson’s title is the name for the total process by which a poem marks language – adding emphasis through typography and lineation, rhyme, metrico-rhythmic patterning, etc. – so as to hijack its ordinary communicative usages and arrive at a meaning that is as much about itself as it is about the world at large, a meaning that subsumes thematic content under a larger concern about the efficacy of its own meaning-making structures.' (Bad Naturalisations: James Jiang, Introduction)

Last amended 2 Dec 2022 10:15:35 The Leisured Classessmall AustLit logo Cordite Poetry Review
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