Maine Literary Quotes

I walked past Malison, up Lower Main to Main and across the road. I didn’t need to look to know he was behind me. I entered Royal Wood, went a short way along a path and waited. It was cool and dim beneath the trees. When Malison entered the Wood, I continued eastward.  I wanted to place his body in hallowed ground. He was born a Mearan. The least I could do was send him to Loric. The distance between us closed until he was on my heels. He chose to come, I told myself, as if that lessened the crime I planned. He chose what I have to offer. We were almost to the cemetery before he asked where we were going. I answered with another question. “Do you like living in the High Lord’s kitchens?” He, of course, replied, “No.” “Well, we’re going to a better place.” When we reached the edge of the Wood, I pushed aside a branch to see the Temple of Loric and Calec’s cottage. No smoke was coming from the chimney, and I assumed the old man was yet abed. His pony was grazing in the field of graves. The sun hid behind a bank of clouds. Malison moved beside me. “It’s a graveyard.” “Are you afraid of ghosts?” I asked. “My father’s a ghost,” he whispered. I asked if he wanted to learn how to throw a knife. He said, “Yes,” as I knew he would.  He untucked his shirt, withdrew the knife he had stolen and gave it to me. It was a thick-bladed, single-edged knife, better suited for dicing celery than slitting a young throat. But it would serve my purpose. That I also knew. I’d spent all night projecting how the morning would unfold and, except for indulging in the tea, it had happened as I had imagined.  Damut kissed her son farewell. Malison followed me of his own free will. Without fear, he placed the instrument of his death into my hand. We were at the appointed place, at the appointed time. The stolen knife was warm from the heat of his body. I had only to use it. Yet I hesitated, and again prayed for Sythene to show me a different path. “Aren’t you going to show me?” Malison prompted, as if to echo my prayer.

Not a wasted word. This has been a main point to my literary thinking all my life.

We have to look at the figures of speech a writer uses, his images and symbols, to realize that underneath all the complexity of human life that uneasy stare at an alien nature is still haunting us, and the problem of surmounting it still with us. Above all, we have to look at the total design of a writer's work, the title he gives to it, and the his main theme, which means his point in writing it, to understand that literature is still doing the same job that mythology did earlier, but filling in its huge cloudy shapes with sharper lights and deeper shadows. [p.32]

The particular myth that's been organizing this talk, and in a way the whole series, is the story of the Tower of Babel in the Bible. The civilization we live in at present is a gigantic technological structure, a skyscraper almost high enough to reach the moon. It looks like a single world-wide effort, but it's really a deadlock of rivalries; it looks very impressive, except that it has no genuine human dignity. For all its wonderful machinery, we know it's really a crazy ramshackle building, and at any time may crash around our ears. What the myth tells us is that the Tower of Babel is a work of human imagination, that its main elements are words, and that what will make it collapse is a confusion of tongues. All had originally one language, the myth says. The language is not English or Russian or Chinese or any common ancestor, if there was one. It is the language that makes Shakespeare and Pushkin authentic poets, that gives a social vision to both Lincoln and Gandhi. It never speaks unless we take the time to listen in leisure, and it speaks only in a voice too quiet for panic to hear. And then all it has to tell us, when we look over the edge of our leaning tower, is that we are not getting any nearer heaven, and that it is time to return to earth. [p.98]

Martial (the main character of LOCUS SOLUS) has a very interesting conception of literary beauty: the work must contain nothing real, no observations about the world or the mind, nothing but completely imaginary constructions. These are in themselves ideas from an extrahuman world.

The traveler from Europe edges into it like a tiny Jonah entering an inconceivably large whale, slipping past the straits of Belle Isle into the Gulf of St. Lawrence, where five Canadian provinces surround him, for the most part invisible. Then he goes up the St. Lawrence and the inhabited country comes into view, mainly a French-speaking country with its own cultural traditions. To enter the United States is a matter of crossing an ocean; to enter Canada is a matter of being silently swallowed by an alien continent.

The second main characteristic of our political courts is the lack of ambiguity in their work, which is to say predetermined verdicts.

1. First of all: night. Why is it that all the main work of breaking down human souls went on at night?

It has generally been assumed that fairy tales were first created for children and are largely the domain of children. But nothing could be further from the truth. From the very beginning, thousands of years ago, when tales were told to create communal bonds in face of the inexplicable forces of nature, to the present, when fairy tales are written and told to provide hope in a world seemingly on the brink of catastrophe, mature men and women have been the creators and cultivators of the fairy tale tradition. When introduced to fairy tales, children welcome them mainly because they nurture their great desire for change and independence. On the whole, the literary fairy tale has become an established genre within a process of Western civilization that cuts across all ages. Even though numerous critics and shamans have mystified and misinterpreted the fairy tale because of their spiritual quest for universal archetypes or their need to save the world through therapy, both the oral and the literary forms of the fairy tale are grounded in history: they emanate from specific struggles to humanize bestial and barbaric forces, which have terrorized our minds and communities in concrete ways, threatening to destroy free will and human compassion. The fairy tale sets out to conquer this concrete terror through metaphors.

Yes, experimental fictions like Finnegans Wake are still in print, but they are mainly sold either to cultured autodidacts dutifully grinding their way through the literary canon, or to college students who are forced to pretend that they have read them.

He was a noisy robust little man with a gleam of real talent concealed in the messy obscurity of his verse. But because he did his best to shock people with his monstrous mass of otiose words (he was the inventor of the “submental grunt” as he called it), his main output seems now so nugatory, so false, so old-fashioned (super-modern things have a queer knack of dating much faster than others) that his true value is only remembered by a few scholars who admire the magnificent translations of English poems made by him at the very outset of his literary career,—

The social and political history of Europe would be what it has been if Dante, Shakespeare, Michelangelo, Mozart, et al., had never lived. A poet, qua poet, has only one political duty, namely, in his own writing to set an example of the correct use of his mother tongue which is always being corrupted. When words lose their meaning, physical force takes over. By all means, let a poet, if he wants to, write what is now called an “engagé” poem, so long as he realizes that it is mainly himself who will benefit from it. It will enhance his literary reputation among those who feel the same as he does.

It isn’t always a matter, we should note, of identifying with the protagonist. No one I know, regardless of how much they love his novel, wants to be Humbert Humbert or Victor Frankenstein, although perhaps for different reasons. Or Heathcliff. Ever want to be Heathcliff? I didn’t think so. They are not the stuff of our fantasy lives, yet we may revel in their world, even while reviling their personalities. Consider Humbert. The narrative strategy Nabokov employs is very daring, since it demands that we identify with someone who is breaking what nearly everyone will consider the most absolute taboo. …Sympathy is out of the question. What the novel requires, however, is that we continue reading, something it audaciously gives us reason to do. The word games and intellectual brilliance helps, certainly; he’s detestable but charming and brilliant. The other element is that we watch him with a sort of appalled fascination: can he really intend that; does he really do this; would he really attempt even that; has he lost all sense of proportion? The answers are, in order, yes, yes, yes, and yes. Pretty clearly, then, there are pleasures in the text that are not inherent in the personality of the main character.

The ruinous deeds of the ravaging foe (Beowulf) The best-known long text in Old English is the epic poem Beowulf. Beowulf himself is a classic hero, who comes from afar. He has defeated the mortal enemy of the area - the monster Grendel - and has thus made the territory safe for its people. The people and the setting are both Germanic. The poem recalls a shared heroic past, somewhere in the general consciousness of the audience who would hear it. It starts with a mention of 'olden days', looking back, as many stories do, to an indefinite past ('once upon a time'), in which fact blends with fiction to make the tale. But the hero is a mortal man, and images of foreboding and doom prepare the way for a tragic outcome. He will be betrayed, and civil war will follow. Contrasts between splendour and destruction, success and failure, honour and betrayal, emerge in a story which contains a great many of the elements of future literature. Power, and the battles to achieve and hold on to power, are a main theme of literature in every culture - as is the theme of transience and mortality. ................ Beowulf can be read in many ways: as myth; as territorial history of the Baltic kingdoms in which it is set; as forward-looking reassurance. Questions of history, time and humanity are at the heart of it: it moves between past, present, and hope for the future, and shows its origins in oral tradition. It is full of human speech and sonorous images, and of the need to resolve and bring to fruition a proper human order, against the enemy - whatever it be - here symbolised by a monster and a dragon, among literature's earliest 'outsiders'. ....... Beowulf has always attracted readers, and perhaps never more than in the 1990s when at least two major poets, the Scot Edwin Morgan and the Irishman Seamus Heaney, retranslated it into modern English. Heaney's version became a worldwide bestseller, and won many awards, taking one of the earliest texts of English literature to a vast new audience.

Thus, on the one hand, Spenser's thought is steeped in sensuous detail, so that for him there is no really abstract thinking; men, he thinks, 'should be satisfied with the use of these days, seeing all things accounted by their showes, and nothing esteemed of, that is not delightfull and pleasing to commune sense' ( Prefatory Letter). But on the other hand the details of the physical universe become translucent from the pulsing light of varied human experience which is seen behind it. His 'haunt and the main region of (his) song' is the inner life of man and it is described in the symbolism of human figures clothed in raiment iridescent with innumerable associations. His art is a development of the mediaeval.

I really can't say which of the American classics you should read. In fact, I think about as much of the notion of "classic" as you do, but at least the literary critics who compile those lists have a good sense of humor. How else can you explain them adding Mark Twain's wonderful books to their lists, given his view that "a classic is something everybody wants to have read, but no one wants to read"? Unless it's some kind of disguised jibe, but they surely can't be that petty. Though I don't think that justice is the main argument against classics list. Or rather, in a way it's clearly a question of justice, but not against those who don't make it. No, the books I feel sorry for are the ones they add to these lists. Take Mark Twain again. Once, when Tom was young, he came to me complaining that he had to read Huckleberry Finn for junior high. Huckleberry Finn! Our critics and educators have got a lot to answer for when they manage to make young boys see stories about rebellion and adventure and ballsiness as a chore. Do you understand what I mean? The real crime of these lists isn't that they leave deserving books off them, but that they make people see fantastic literary adventures as obligations.

All these literary patriarchs paraded their woe like it was some main event. Hamlet brooded, Romeo beat his chest, Willy went mad. Why didn’t they dance like the Perez women? Were they so above the fray? No billboards or sitcoms had declared my Perez cousins queen, and I now saw freedom in this. No false thrones, just the shitstorm of life. Grab a shovel and sing a work song. Build a throne that’s real.

The Bloomsbury Group has been characterised as a liberal, pacifist, and at times libertine, intellectual enclave of Cambridge-based privilege. The Cambridge men of the group (Bell, Forster, Fry, Keynes, Strachey, Sydney-Turner) were members of the elite and secret society of Cambridge Apostles. Woolf’s aesthetic understanding, and broader philosophy, were in part shaped by, and at first primarily interpreted in terms of, (male) Bloomsbury’s dominant aesthetic and philosophical preoccupations, rooted in the work of G. E. Moore (a central influence on the Apostles), and culminating in Fry’s and Clive Bell’s differing brands of pioneering aesthetic formalism. ‘The main things which Moore instilled deep into our minds and characters,’ Leonard Woolf recalls, ‘were his peculiar passion for truth, for clarity and common sense, and a passionate belief in certain values.’ Increasing awareness of Woolf’s feminism, however, and of the influence on her work of other women artists, writers and thinkers has meant that these Moorean and male points of reference, though of importance, are no longer considered adequate in approaching Woolf’s work, and her intellectual development under the tutelage of women, together with her involvement with feminist thinkers and activists, is also now acknowledged.

The range and variety of Chaucer's English did much to establish English as a national language. Chaucer also contributed much to the formation of a standard English based on the dialect of the East Midlands region which was basically the dialect of London which Chaucer himself spoke. Indeed, by the end of the fourteenth century the educated language of London, bolstered by the economic power of London itself, was beginning to become the standard form of written language throughout the country, although the process was not to be completed for several centuries. The cultural, commercial, administrative and intellectual importance of the East Midlands (one of the two main universities, Cambridge, was also in this region), the agricultural richness of the region and the presence of major cities, Norwich and London, contributed much to the increasing standardisation of the dialect.

You can usually tell whether a new writer's work is going to last by whether or not the style has a sense of rhythm. From what I've seen, though, most literary critics ignore that element. They mainly talk about the subtlety of the style, the newness of the writer's vocabulary, the narrative momentum, the quality of the themes, the use of interesting techniques, and so forth. But I think that someone who writes without rhythm lacks the talent to be a writer.

What I have most wanted to do throughout the past ten years is to make political writing into an art. My starting point is always a feeling of partisanship, a sense of injustice. When I sit down to write a book, I do not say to myself, ‘I am going to produce a work of art’. I write it because there is some lie that I want to expose, some fact to which I want to draw attention, and my initial concern is to get a hearing. [...] My book about the Spanish civil war, Homage to Catalonia, is of course a frankly political book, but in the main it is written with a certain detachment and regard for form. I did try very hard in it to tell the whole truth without violating my literary instincts. But among other things it contains a long chapter, full of newspaper quotations and the like, defending the Trotskyists who were accused of plotting with Franco. Clearly such a chapter, which after a year or two would lose its interest for any ordinary reader, must ruin the book. A critic whom I respect read me a lecture about it. ‘Why did you put in all that stuff?’ he said. ‘You've turned what might have been a good book into journalism.’ What he said was true, but I could not have done otherwise. I happened to know, what very few people in England had been allowed to know, that innocent men were being falsely accused. If I had not been angry about that I should never have written the book.

Meanwhile the thinking person, by intellect usually left-wing but by temperament often right-wing, hovers at the gate of the Socialist fold. He is no doubt aware that he ought to be a Socialist. But he observes first the dullness of individual Socialists, then the apparent flabbiness of Socialist ideals, and veers away. Till quite recently it was natural to veer towards indinerentism. Ten years ago, even five years ago, the typical literary gent wrote books on baroque architecture and had a soul above politics. But that attitude is becoming difficult and even unfashionable. The times are growing harsher, the issues are clearer, the belief that nothing will ever change (i.e. that your dividends will always be safe) is less prevalent. The fence on which the literary gent sits, once as comfortable as the plush cushion of a cathedral-stall, is now pinching his bottom intolerably; more and more he shows a disposition to drop off on one side or the other. It is interesting to notice how many of our leading writers, who a dozen years ago were art for art's saking for all they were worth and would have considered it too vulgar for words to even vote at a general election, are now taking a definite political standpoint; while most of the younger writers, at least those of them who are not mere footlers, have been 'political' from the start. I believe that when the pinch comes there is a terrible danger that the main movement of the intelligentsia will be towards Fascism. . . . That will also be the moment when every person with any brains or decency will know in his bones that he ought to be on the Socialist side. But he will not necessarily come there of his own accord; there are too many ancient prejudices standing in the way. He will have to be persuaded, and by methods that imply an understanding of his viewpoint. Socialists cannot afford to waste any more time in preaching to the converted. Their job now is to make Socialists as rapidly as possible; instead of which, all too often, they are making Fascists.

I have used the theologians and their treatment of apocalypse as a model of what we might expect to find not only in more literary treatments of the same radical fiction, but in the literary treatment of radical fictions in general. The assumptions I have made in doing so I shall try to examine next time. Meanwhile it may be useful to have some kind of summary account of what I've been saying. The main object: is the critical business of making sense of some of the radical ways of making sense of the world. Apocalypse and the related themes are strikingly long-lived; and that is the first thing to say tbout them, although the second is that they change. The Johannine acquires the characteristics of the Sibylline Apocalypse, and develops other subsidiary fictions which, in the course of time, change the laws we prescribe to nature, and specifically to time. Men of all kinds act, as well as reflect, as if this apparently random collocation of opinion and predictions were true. When it appears that it cannot be so, they act as if it were true in a different sense. Had it been otherwise, Virgil could not have been altissimo poeta in a Christian tradition; the Knight Faithful and True could not have appeared in the opening stanzas of "The Faerie Queene". And what is far more puzzling, the City of Apocalypse could not have appeared as a modern Babylon, together with the 'shipmen and merchants who were made rich by her' and by the 'inexplicable splendour' of her 'fine linen, and purple and scarlet,' in The Waste Land, where we see all these things, as in Revelation, 'come to nought.' Nor is this a matter of literary allusion merely. The Emperor of the Last Days turns up as a Flemish or an Italian peasant, as Queen Elizabeth or as Hitler; the Joachite transition as a Brazilian revolution, or as the Tudor settlement, or as the Third Reich. The apocalyptic types--empire, decadence and renovation, progress and catastrophe--are fed by history and underlie our ways of making sense of the world from where we stand, in the middest.

This is surely the main problem of the twentieth century: is it permissible merely to carry out orders and commit one's conscience to someone else's keeping? Can a man do without ideas of his own about good and evil, and merely derive them from the printed instructions and verbal orders of his superiors? Oaths! Those solemn pledges pronounced with a tremor in the voice and intended to defend people against the evildoers: see how easily they can be misdirected to the service of the evildoers and against the people!

As long ago as 1919 the chief method used by the interrogator was a revolver on the desk. That was how they investigated not only political but also ordinary misdemeanors and violations. At the trial of the Main Fuels Committee (1921), the accused Makhrovskaya complained that at her interrogation she had been drugged with cocaine. The prosecutor replied: “If she had declared that she had been treated rudely, that they had threatened to shoot her, this might be just barely believable.”6 The frightening revolver lies there and sometimes it is aimed at you, and the interrogator doesn’t tire himself out thinking up what you are guilty of, but shouts: “Come on, talk! You know what about!” That

This backwards journey in the narrating of this ’membering, this remembrance, is a lesson I learned from Geoffrey Chaucer’s Canterbury Tales, and which considers how language, in this case, English, the only language I know, is at present of profound interest, when used in a non-traditional manner. I have used this language in The Polished Hoe, and I call it many things, but the most precise definition I have given it is contained in a booklet published by the Giller Prize Foundation, celebrating the tenth anniversary of this literary prize. In that review of the literary problems I faced in the writing of The Polished Hoe in 2002, my main concern was to find a language, or to more strictly use the language I already knew, in such a way that it became, in my manipulation of it, a “new” language. And to explain the result of this experiment, I said that I intended to “creolize Oxford English.

To return to my point about the immense power that his enemies attribute to him, Orwell once wrote about the ‘large, vague renown’ that constituted the popular memory of Thomas Carlyle. His own reputation has long been of that kind, if not rather greater and more precise. But this is not the same as moving millions to despair and apathy (Deutscher), or spoiling the morale of a whole generation (Williams), or authoring a work of fiction that was in fact, in rather cunning disguise, the work of an entire ‘culture’ (Thompson). In some semi-articulated way, many major figures of the Left have thought of Orwell as an enemy, and an important and frightening one. This was true to a somewhat lesser extent in his own lifetime. And, again, the dislike or distrust can be illustrated by a simple—or at any rate a simple-minded—confusion of categories. It was widely said, and believed, of Orwell that he had written the damning sentence: ‘The working classes smell.’ This statement of combined snobbery and heresy was supposedly to be found in The Road to Wigan Pier; in other words—since the book was a main selection of Victor Gollancz’s Left Book Club—it could be checked and consulted. But it obviously never was checked or consulted, because in those pages Orwell only says that middle-class people, such as his own immediate forebears, were convinced that the working classes smelled. Victor Gollancz himself, though hopelessly at odds with Orwell in matters of politics, issued a denial on his behalf that he had ever said, or written, that ‘the working classes smell.’ It made no difference. As his published correspondence shows, every time Orwell wrote anything objectionable to the Left, up would come this old charge again, having attained the mythic status that placed it beyond mere factual refutation. It feels silly even to go over this pettiness again, but the identical method—of attributing to him the outlook that he attributed to others—is employed in our own time in critical discussions of ‘Inside the Whale.

What is a novel, anyway? Only a very foolish person would attempt to give a definitive answer to that, beyond stating the more or less obvious facts that it is a literary narrative of some length which purports, on the reverse of the title page, not to be true, but seeks nevertheless to convince its readers that it is. It's typical of the cynicism of our age that, if you write a novel, everyone assumes it's about real people, thinly disguised; but if you write an autobiography everyone assumes you're lying your head off. Part of this is right, because every artist is, among other things, a con-artist. We con-artists do tell the truth, in a way; but, as Emily Dickenson said, we tell it slant. By indirection we find direction out -- so here, for easy reference, is an elimination-dance list of what novels are not. -- Novels are not sociological textbooks, although they may contain social comment and criticism. -- Novels are not political tracts, although "politics" -- in the sense of human power structures -- is inevitably one of their subjects. But if the author's main design on us is to convert us to something -- - whether that something be Christianity, capitalism, a belief in marriage as the only answer to a maiden's prayer, or feminism, we are likely to sniff it out, and to rebel. As Andre Gide once remarked, "It is with noble sentiments that bad literature gets written." -- Novels are not how-to books; they will not show you how to conduct a successful life, although some of them may be read this way. Is Pride and Prejudice about how a sensible middle-class nineteenth-century woman can snare an appropriate man with a good income, which is the best she can hope for out of life, given the limitations of her situation? Partly. But not completely. -- Novels are not, primarily, moral tracts. Their characters are not all models of good behaviour -- or, if they are, we probably won't read them. But they are linked with notions of morality, because they are about human beings and human beings divide behaviour into good and bad. The characters judge each other, and the reader judges the characters. However, the success of a novel does not depend on a Not Guilty verdict from the reader. As Keats said, Shakespeare took as much delight in creating Iago -- that arch-villain -- as he did in creating the virtuous Imogen. I would say probably more, and the proof of it is that I'd bet you're more likely to know which play Iago is in. -- But although a novel is not a political tract, a how-to-book, a sociology textbook or a pattern of correct morality, it is also not merely a piece of Art for Art's Sake, divorced from real life. It cannot do without a conception of form and a structure, true, but its roots are in the mud; its flowers, if any, come out of the rawness of its raw materials. -- In short, novels are ambiguous and multi-faceted, not because they're perverse, but because they attempt to grapple with what was once referred to as the human condition, and they do so using a medium which is notoriously slippery -- namely, language itself.

This is why it would be nice to hear more about principles and less about ruffled feelings. What thoughtful person has not felt the hurt expressed by the Jews over some performances of The Merchant of Venice? A whole anthology of black writing exists in the United States, protesting with quite unfeigned horror about the teaching of Huckleberry Finn in the schools, for the good and sufficient reason that the book employs the word ‘nigger’ as natural. A mature and sensitive response to such tenderness of feeling and consciousness of historic wrong would run much like this, and could be uttered by a person of any race or religion ... We know why you feel as you do, but – too bad. Your thinness of skin, however intelligible, will not be healed by the amputation of the literary and theatrical and musical canon. You just have to live with Shakespeare and Dickens and Twain and Wagner, mainly because they are artistically integral but also, as it happens, because they represent certain truths about human nature. Think for a second. Would prejudice diminish with the banning of Shylock? Concern for the emotions of others cannot license a category mistake on this scale.

Even in the act of fleeing modern ideologies, however, literary theory reveals its often unconscious complicity with them, betraying its elitism, sexism or individualism in the very ‘aesthetic’ or ‘unpolitical’ language it finds natural to use of the literary text. It assumes, in the main, that at the centre of the world is the contemplative individual self, bowed over its book, striving to gain touch with experience, truth, reality, history or tradition. Other things matter too, of course — this individual is in personal relationship with others, and we are always much more than readers — but it is notable how often such individual consciousness, set in its small circle of relationships, ends up as the touchstone of all else. The further we move from the rich inwardness of the personal life, of which literature is the supreme exemplar, the more drab, mechanical and impersonal existence becomes. It is a view equivalent in the literary sphere to what has been called possessive individualism in the social realm, much as the former attitude may shudder at the latter: it reflects the values of a political system which subordinates the sociality of human life to solitary individual enterprise.

What about the main thing in life, all its riddles? If you want, I’ll spell it out for you right now. Do not pursue what is illusory—property and position: all that is gained at the expense of your nerves decade after decade, and is confiscated in one fell night. Live with a steady superiority over life—don’t be afraid of misfortune, and do not yearn after happiness; it is, after all, all the same: the bitter doesn’t last forever, and the sweet never fills the cup to overflowing. It is enough if you don’t freeze in the cold and if thirst and hunger don’t claw at your insides. If your back isn’t broken, if your feet can walk, if both arms can bend, if both eyes see, and if both ears hear, then whom should you envy? And why? Our envy of others devours us most of all. Rub your eyes and purify your heart—and prize above all else in the world those who love you and who wish you well. Do not hurt them or scold them, and never part from any of them in anger; after all, you simply do not know: it might be your last act before your arrest, and that will be how you are imprinted in their memory! But the convoy guards stroke the black handles of the pistols in their pockets. And we sit there, three in a row, sober fellows, quiet friends.

The 1950s and 1960s: philosophy, psychology, myth There was considerable critical interest in Woolf ’s life and work in this period, fuelled by the publication of selected extracts from her diaries, in A Writer’s Diary (1953), and in part by J. K. Johnstone’s The Bloomsbury Group (1954). The main critical impetus was to establish a sense of a unifying aesthetic mode in Woolf ’s writing, and in her works as a whole, whether through philosophy, psychoanalysis, formal aesthetics, or mythopoeisis. James Hafley identified a cosmic philosophy in his detailed analysis of her fiction, The Glass Roof: Virginia Woolf as Novelist (1954), and offered a complex account of her symbolism. Woolf featured in the influential The English Novel: A Short Critical History (1954) by Walter Allen who, with antique chauvinism, describes the Woolfian ‘moment’ in terms of ‘short, sharp female gasps of ecstasy, an impression intensified by Mrs Woolf ’s use of the semi-colon where the comma is ordinarily enough’. Psychological and Freudian interpretations were also emerging at this time, such as Joseph Blotner’s 1956 study of mythic patterns in To the Lighthouse, an essay that draws on Freud, Jung and the myth of Persephone.4 And there were studies of Bergsonian writing that made much of Woolf, such as Shiv Kumar’s Bergson and the Stream of Consciousness Novel (1962). The most important work of this period was by the French critic Jean Guiguet. His Virginia Woolf and Her Works (1962); translated by Jean Stewart, 1965) was the first full-length study ofWoolf ’s oeuvre, and it stood for a long time as the standard work of critical reference in Woolf studies. Guiguet draws on the existentialism of Jean-Paul Sartre to put forward a philosophical reading of Woolf; and he also introduces a psychobiographical dimension in the non-self.’ This existentialist approach did not foreground Woolf ’s feminism, either. his heavy use of extracts from A Writer’s Diary. He lays great emphasis on subjectivism in Woolf ’s writing, and draws attention to her interest in the subjective experience of ‘the moment.’ Despite his philosophical apparatus, Guiguet refuses to categorise Woolf in terms of any one school, and insists that Woolf has indeed ‘no pretensions to abstract thought: her domain is life, not ideology’. Her avoidance of conventional character makes Woolf for him a ‘purely psychological’ writer.5 Guiguet set a trend against materialist and historicist readings ofWoolf by his insistence on the primacy of the subjective and the psychological: ‘To exist, for Virginia Woolf, meant experiencing that dizziness on the ridge between two abysses of the unknown, the self and

Only twice in literary history has there been a great period of tragedy, in the Athens of Pericles and in Elizabethan England. What these two periods had in common, two thousand years and more apart in time, that they expressed themselves in the same fashion, may give us some hint of the nature of tragedy, for far from being periods of darkness and defeat, each was a time when life was seen exalted, a time of thrilling and unfathomable possibilities. They held their heads high, those men who conquered at Marathon and Salamis, and those who fought Spain and saw the Great Armada sink. The world was a place of wonder; mankind was beauteous; life was lived on the crest of the wave. More than all, the poignant joy of heroism had stirred men’s hearts. Not stuff for tragedy, would you say? But on the crest of the wave one must feel either tragically or joyously; one cannot feel tamely. The temper of mind that sees tragedy in life has not for its opposite the temper that sees joy. The opposite pole to the tragic view of life is the sordid view. When humanity is seen as devoid of dignity and significance, trivial, mean, and sunk in dreary hopelessness, then the spirit of tragedy departs. “Sometime let gorgeous tragedy in sceptred pall come sweeping by.” At the opposite pole stands Gorki with The Lower Depths. Other poets may, the tragedian must, seek for the significance of life. An error strangely common is that this significance for tragic purposes depends, in some sort, upon outward circumstance, on pomp and feast and revelry, With mask, and antique pageantry— Nothing of all that touches tragedy. The surface of life is comedy’s concern; tragedy is indifferent to it. We do not, to be sure, go to Main Street or to Zenith for tragedy, but the reason has nothing to do with their dull familiarity. There is no reason inherent in the house itself why Babbitt’s home in Zenith should not be the scene of a tragedy quite as well as the Castle of Elsinore. The only reason it is not is Babbitt himself. “That singular swing toward elevation” which Schopenhauer discerned in tragedy, does not take any of its impetus from outside things. The

My bedroom is separated from the main body of my house so that I have to go outside and cross some pseudo-Japanese stepping stones in order to go to sleep at night. Often I get rained on a little bit on my way to bed. It’s a benediction. A good night kiss. Romantic? Absolutely. And nothing to be ashamed of. If reality is a matter of perspective, then the romantic view of the world is as valid as any other - and a great deal more rewarding. It makes of life and unpredictable adventure rather that a problematic equation. Rain is the natural element for romanticism. A dripping fir is a hundred times more sexy than a sunburnt palm tree, and more primal and contemplative, too. A steady, wind-driven rain composed music for the psyche. It not only nurtures and renews, it consecrates and sanctifies. It whispers in secret languages about the primordial essence of things. Obviously, then, the Pacific Northwest's customary climate is perfect for a writer. It's cozy and intimate. Reducing temptation (how can you possibly play on the beach or work in the yard?), it turns a person inward, connecting them with what Jung called "the bottom below the bottom," those areas of the deep unconscious into which every serious writer must spelunk. Directly above my writing desk there is a skylight. This is the window, rain-drummed and bough-brushed, through which my Muse arrives, bringing with her the rhythms and cadences of cloud and water, not to mention the latest catalog from Victoria's Secret and the twenty-three auxiliary verbs. Oddly enough, not every local author shares my proclivity for precipitation. Unaware of the poetry they're missing, many malign the mist as malevolently as they non-literary heliotropes do. They wring their damp mitts and fret about rot, cursing the prolonged spillage, claiming they're too dejected to write, that their feet itch (athlete's foot), the roof leaks, they can't stop coughing, and they feel as if they're slowly being digested by an oyster. Yet the next sunny day, though it may be weeks away, will trot out such a mountainous array of pagodas, vanilla sundaes, hero chins and god fingers; such a sunset palette of Jell-O, carrot oil, Vegas strip, and Kool-Aid; such a sea-vista display of broad waters, firred islands, whale spouts, and boat sails thicker than triangles in a geometry book, that any and all memories of dankness will fizz and implode in a blaze of bedazzled amnesia. "Paradise!" you'll hear them proclaim as they call United Van Lines to cancel their move to Arizona.

In 1910 Leroux had his greatest literary success with Le Fantôme de l’Opéra (The Phantom of the Opera). This is both a detective story and a dark romantic melodrama and was inspired by Leroux’s passion for and obsession with the Paris Opera House. And there is no mystery as to why he found the building so fascinating because it is one of the architectural wonders of the nineteenth century. The opulent design and the fantastically luxurious furnishings added to its glory, making it the most famous and prestigious opera house in all Europe. The structure comprises seventeen floors, including five deep and vast cellars and sub cellars beneath the building. The size of the Paris Opera House is difficult to conceive. According to an article in Scribner’s Magazine in 1879, just after it first opened to the public, the Opera House contained 2,531 doors with 7,593 keys. There were nine vast reservoirs, with two tanks holding a total of 22,222 gallons of water. At the time there were fourteen furnaces used to provide the heating, and dressing-rooms for five hundred performers. There was a stable for a dozen or so horses which were used in the more ambitious productions. In essence then the Paris Opera House was like a very small magnificent city. During a visit there, Leroux heard the legend of a bizarre figure, thought by many to be a ghost, who had lived secretly in the cavernous labyrinth of the Opera cellars and who, apparently, engineered some terrible accidents within the theatre as though he bore it a tremendous grudge. These stories whetted Leroux’s journalistic appetite. Convinced that there was some truth behind these weird tales, he investigated further and acquired a series of accounts relating to the mysterious ‘ghost’. It was then that he decided to turn these titillating titbits of theatre gossip into a novel. The building is ideal for a dark, fantastic Grand Guignol scenario. It is believed that during the construction of the Opera House it became necessary to pump underground water away from the foundation pit of the building, thus creating a huge subterranean lake which inspired Leroux to use it as one of his settings, the lair, in fact, of the Phantom. With its extraordinary maze-like structure, the various stage devices primed for magical stage effects and that remarkable subterranean lake, the Opera House is not only the ideal backdrop for this romantic fantasy but it also emerges as one of the main characters of this compelling tale. In using the real Opera House as its setting, Leroux was able to enhance the overall sense of realism in his novel.

Alice James Books is a nonprofit cooperative poetry press, founded in 1973 by five women and two men: Patricia Cumming, Marjorie Fletcher, Jean Pedrick, Lee Rudolph, Ron Schreiber, Betsy Sholl and Cornelia Veenendaal. Their objectives were to give women access to publishing and to involve authors in the publishing process. The press remains true to that mission and to publishing a diversity of poets including both beginning and established poets, and a diversity of poetic styles. The press is named for Alice James—the sister of novelist Henry James and philosopher William James—whose fine journal and gift for writing were unrecognized during her lifetime. Since 1994, the press has been affiliated with the University of Maine at Farmington. The press educates up to 14 interns per year through individual writing apprenticeships. Alice James Books also serves to train and advise the on-campus, bi-annual literary journal, The Sandy River Review. Alice James Books is one of the original and few presses in the country that is run collectively. Our cooperative selects manuscripts for publication through both regional and national annual competitions. The cooperative offers two book competitions a year: the Kinereth Gensler Award and the Beatrice Hawley Award. The winners of the Kinereth Gensler Award competition become active members of Alice James Books and act as the editorial board after their manuscripts are selected for publication. The winner of the Beatrice Hawley Award is exempt from the cooperative work commitment. Alice James Books recently established two new book series: the AJB Translation Series and The Kundiman Poetry Prize. The press partners with Kundiman, a nonprofit organization devoted to the promotion and preservation on Asian American poetry, to present The Kundiman Poetry Prize, a book-length manuscript competition open to all Asian American poets with any number of published books. The inaugural competition took place in 2010.

Most of this material is accessible in the Dunayevskaya and Glaberman collections in the Wayne State University Archives of Labor and Urban Affairs in Detroit. When occasionally I look up something in the collections, I find it hard to believe that we wrote so much and took on so many literary critics and historians. The Johnson-Forest Tendency consisted of a small number of members—never more than sixty to seventy in an organization of several hundred. But the fervor with which we supported the independent black struggle and attacked the alienation of human beings in the process of capitalist production made us stand out in any gathering. Most members of the Johnson-Forest Tendency were part of the new generation who had joined the radical movement in the 1940s because we wanted to make a second American Revolution—which to us meant mainly encouraging the struggles of rank-and-file workers to take over control of production inside the plant and supporting the black struggle for full social, economic, and political equality. Black, white, Asian, and Chicano, workers and intellectuals, living on the East Coast, West Coast, and in the Midwest, we were a representative sample of the new human forces that were emerging in the United States during World War II. Because CLR could not be publicly active, we acted as his transmission belt to the larger American community. Our little organization was a collective way to know reality.

Today DARK TIMES received a nice review from Literary Titan: “In Dark Times Michael Gerhartz explores the delicate yet sadly relevant organ trade problem. In this fascinating novel readers get a glance into the complicated and cruel organ trade business. The narrative is constantly changing its perspective, from the lucky recipient to the doomed donor while following the incredible adventures of the engrossing main character, Natascha. Michael Gerhartz creates a globe-trotting and energetic crime drama that is full of unexpected twists and deadly turns...I can confidently say that I had a great time reading Dark Times by Michael Gerhartz. The story is perfect for readers who like to follow clues to solve intriguing mysteries. Dark Times reminds me of Tom Clancy’s Jack Ryan where agents embark on clandestine and deadly missions to overcome a terror menacing the world. Perfect for readers who embrace a bit of romance in their action adventure stories.” Reviewed by Literary Titan

The first paragraph will usually state the title, the genre, and the number of words in the manuscript (if you have completed it). Next you will have the main body of the query, where you explain what the book is and why it should be published. I prefer that it be written as briefly as possible. Some agents, though, want longer query letters. Agents will give you some indication of their preferences for length when you go to  the submission page of the agent’s website. The final paragraph should have something about yourself, what you do in the real world, and why you have the authority to write the book.

Lockwood writes with authority and keeps the reader rooted in the eighties with references to famous people, music, and more. He does not miss a single beat in 'Buried Gold' whose main characters are baby boomers and Gen-Xers." -- Shelley Carpenter - Review in December 2016 "Toasted Cheese Literary Journal

The original name of Bucksport’s first library was the “Buckstown Social Library,” however it since been changed to “Buck Memorial Library.” Naming the town and the library in the honor of Colonel Buck speaks volumes. The people of Bucksport, Maine must have revered him throughout the years and apparently the locals still view Colonel Buck with due respect and admiration. It is obvious that they do what they can to preserve his memory. While visiting the town library in September of 2015, Geraldine Spooner, known to the locals affectionately as “Gerry,” printed out some research material for me. As she did, she reminded me that the story of Colonel Buck was really only a legend. As she turned, she lost her balance and fell to the floor. Hoping to catch her to prevent a more serious fall, I jumped to her rescue, only to scrape my own arm. We both became “Wounded Literary Warriors,” as she sat relatively unharmed on the floor of the library. Bleeding profusely from my minor scratch, I tried to help her up. When she finally managed to get back on her feet, she applied a bandage to my arm and remarked that, “The legend of Bucksport continues….” All’s well that ends well, as apparently neither of us was seriously hurt, but now we both have a story to tell.

While I realize that there are a lot of different angles on this, I’m going to set all of these speculations aside for now and try focusing entirely on trends in fantasy from the perspective of tabletop gaming alone. The first thing you need to know is that the men who laid the groundwork for the role-playing hobby had an incredible appetite for books. You may have been in a comic book shop on a Wednesday when the new shipment came in and the most dedicated fans in your town are right there to get the latest installment of everything they’re into. Well, Gary Gygax and James M. Ward were like that with books: One fateful Tuesday, I was poring through the racks, picking up the newest Conan and Arthur C. Clarke novels. When I reached the end of the racks, I had seven books in my hand. There was a gentleman doing the very same thing beside me. When he got done, he and I had the exact same books in our hands. We laughed at the coincidence and he started talking about a game he had just invented where a person could play Conan fighting Set. I was instantly hooked on the idea. A few weeks later I was regularly going over to Gary Gygax’s house to learn the game of Dungeons & Dragons.1 Note that the main selling point of the game at its inception was that it was not merely an adaption of their favorite stories to game form. No, the “lightning in the bottle” that Gary Gygax had gotten hold of was, in fact, the apex of genre fiction.2 He was opening up an entirely new method for creating worlds and allowing people to enter them. We take it for granted today, but J. Eric Holmes was not exaggerating when he declared that it was a “truly unique invention, probably as remarkable as the die, or the deck of cards, or the chessboard.”3

This means the literary effect is not the main concern here; the author is more concerned with plot. And that plot must be relatively straightforward, must involve, if at all possible, a twist or two, and must bring resolution.

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methods of attack, however; whereas high culture expresses its disapproval of popular culture mainly in books and literary journals, popular culture publics also use the police, the pulpit, and the political arena to attack their enemies.

Everything is subordinated to two main requirements - humanitarian ideals and fidelity to life. This is the secret of the marvellous simplicity of Russian literary art.

Is there an evolutionary consequence to this distinctive quality of story? Researchers have imagined so. We prevailed, in large part, because we are an intensely social species. We are able to live and work in groups. Not in perfect harmony, but with sufficient cooperation to thoroughly upend the calculus of survival. It is not just safety in numbers. It is innovate, participate, delegate, and collaborate in numbers. And essential to such successful group living are the very insights into the variety of human experience we’ve absorbed through story. As psychologist Jerome Bruner noted, “We organize our experience and our memory of human happenings mainly in the form of narrative,”37 leading him to doubt that “such collective life would be possible were it not for our human capacity to organize and communicate experience in narrative form.”38 Through narrative we explore the range of human behavior, from societal expectation to heinous transgression. We witness the breadth of human motivation, from lofty ambition to reprehensible brutality. We encounter the scope of human disposition from triumphant victory to heartrending loss. As literary scholar Brian Boyd has emphasized, narratives thus make “the social landscape more navigable, more expansive, more open with possibilities,” instilling in us a “craving for understanding our world not only in terms of our own direct experience, but through the experiences of others—and not only real others.”39 Whether told through myths, stories, fables, or even embellished accounts of daily events, narratives are the key to our social nature. With math we commune with other realities; with story we commune with other minds.

Among the many blessings of belonging to a faith which has such an important place for written scriptures, is the blessing of literacy and literary culture. It is a simple fact that the desire to read and share the Bible, translated into our own language, has been the main driver for literacy and everything that pertains to it: from the production of paper and the invention of printing, to children in learning their letters in elementary schools. The Word within the Words

The arrival of the Mongols ended the illusion of the political unity of the Kyivan realm and put an end to the very real ecclesiastical unity of the Rus’ lands. The Mongols recognized two main centers of princely rule in Rus’: the principalities of Vladimir-Suzdal in today’s Russia and Galicia-Volhynia in central and western Ukraine. Constantinople followed suit, dividing the Rus’ metropolitanate into two parts. The political and ecclesiastical unity of the Kyiv-centered Rus’ Land had disintegrated. The Galician and Vladimirian princes were now busy building Rus’ lands of their own in their home territories. Although they claimed the same name, “Rus’,” the two principalities followed very different geopolitical trajectories. Both had inherited their dynasties from Kyiv, which was also their source of Rus’ law, literary language, and religious and cultural traditions. Both found themselves under alien Mongol rule. But

Stories can be incredibly powerful and beautiful devices that form and assist our perception and understanding of the world. However, according to twentieth-century American author Kurt Vonnegut, stories rarely tell the truth. After studying stories from an anthropological standpoint, examining the relationships with various cultures, Vonnegut found that stories and myths across many cultures share consistent similar shapes that can typically be broken down into just a few main categories. These shapes can be found graphing the course of a protagonist’s journey through a story along an axis of good and ill fortune. In all stories, someone or something starts somewhere, either in a good place, bad place, or neutral place. Then things happen related to that person which is conveyed as good or bad, bringing the character up and down the axis of fortune as they traverse forward through the story. Then, the story ends and its shape reveals itself. Vonnegut discovered that many popular stories follow common, consistent curves and spikes up and down the good/ill axis and that most end with the protagonist higher on the axis than where they started. However, what’s perhaps most interesting about Vonnegut’s analysis is this argument that these shapes, and consequently most stories, lie. Vonnegut proposed that a more honest, realistic story shape is simply a straight line. In a story of this shape, things still happen and characters still change, but the story maintains ambiguity around whether or not the events that occur are conclusively good or bad. According to Vonnegut, Hamlet is the closest literary representation of real life. “We are so seldom told the truth. In Hamlet-Shakespeare tells us that we don’t know enough about life to know what the good news is and the bad news is and we respond to that.” One story medium that seems to inadvertently coincide with this idea, is the medium of the television series. The goal of TV series is to keep viewers watching as long as possible. Each episode must be an engaging enough story to keep the viewer watching until the end, but each episode must also be left unresolved enough so the larger season-long and series-long stories continue and the viewer is interested in watching all the following episodes. In order to keep the whole thing going, none of the stories can reach a conclusion, and thus, the main characters can’t find ultimate peace or freedom from the uncertainty between good and ill-fortune. Of course, most shows don’t qualify as the straight-line shape in Vonnegut’s analysis, because most shows attempt to convey conclusively good and bad fortunes within them. However merely by the requirements of the medium TV series are forced to self-impose the same sort of universal truth that Vonnegut suggests. That neither the viewer nor the characters in a series can ever know what anything that’s so-called “good” or “bad” in one episode might cause in the next. And that on a fundamental level, the changes in each episode are futile because they are a part of a never-ending cycle of change through conflict and resolution, for the mere sake of its continuation, with no aim of a final resolution or reveal of what’s ultimately good or bad. Of course, eventually, a show reaches its series end when it stops working or runs its natural course. But the show fights its whole life to stay away from this moment. A good TV series, a series that we don’t want to end, is only a series that we don’t want to end because it can’t seem to resolve itself. In this, the format of Tv series also shows us that there is meaning, engagement, and entertainment within the endless cycle of change, regardless of its potential universal futility. And that perhaps change in life can exist not for the sake of some conclusion or ultimate state of peace, but a continuation of itself for the sake of itself. And perhaps the ability to be in this cycle of continued change for the sake of change is the actual good fortune.

The People in this Book: What Did They Do? NUMBER OF PERSONS FIELD OF ENDEAVOR ON MAIN LIST Scientists & Inventors ............................... 36 Political & Military Leaders ....................... 31 Secular Philosophers ................................. 14 Religious Leaders ..................................... 11 Artistic & Literary Figures .......................... 5 Explorers ................................................ 2 Industrialists ............................................ 1 TOTAL ...................•...... 100

Twists, turns and double crosses in literary theft quickly expand to threaten the globe in: THE SLUSH PILE BRIGADE. At its core, the book is a solid thriller. It has clearly defined stakes and goals for the main characters. Marquis has laid the groundwork as a thriller writer and hopefully his following novels build up a James Patterson-esque empire. A promising debut from an up-and-coming thriller writer." ----IndieReader - 4.5/5 Stars (****1/2)

I suggest that the Thelemic ideological position shares consanguinity with the general orientation of postmodernism in assigning the principal value to the relative (individual) experience of the world and point of view, and in assuming a plurality of truths about the nature of reality. Thelema also distances itself from monotheistic traditions in its syncretism, an attribute that is congenial to the worldview of esotericism and shares parallels with the postmodern notions of pastiche and intertextuality. Hermeneutically, Thelemic perspective is at home with the conjectures about the death of author and with the reader-response theories of literary criticism, for its central scripture, The Book of the Law, is denied an official commentary and the meaning of the text is left to be decided ‘each for himself.’ In addition, Thelema abounds in aporias to such an extent that the play of contradictions and reversals provides ‘the key’ to The Book of the Law. By claiming that “existence is pure joy” (AL II: 9) this ideology seems to incarnate what Nietzsche, a major influence on both Crowley and postmodernism, calls la gaya scienza; the other links to Nietzsche include notions such as will to power, glorification of individualism, martial rhetoric, and a critique of Christianity. My main argument is that Thelema may be conceptualized as a postmodern, post-monotheistic, esoteric religion.

Edinburgh For those who like walking, Edinburgh reigns supreme. The Royal Mile runs through the centre of the tourist area connecting Edinburgh Castle with Holyrood Palace. It’s a little over a mile and, in addition to passing old Edinburgh historic sites, it is lined with independent shops, cafes and pubs along the way. For this is Edinburgh’s Old Town, all cobbled streets beneath the lofty castle. The New Town is less than ten minutes walk away and it’s far from new. Instead New Town is Georgian, built by the wealthy residents in the 18th century. Its wide streets and perfect proportions create a visual joy for walking. It’s tough to name Edinburgh’s main sites, but here goes: the castle, continuously occupied for more than 1000 years; Holyrood Palace, the Queen’s official residence in Scotland; Mary King’s Close, a preserved 18th century tenement on the Royal Mile and; the Grassmarket, a network of cobbled lanes with independent shops and cafes. I could go on. Edinburgh is particularly busy during the festival that takes place from August to early September. It began as a military tattoo, developed into a fairly high brow arts festival and has expanded to host off‐stage events from the clever to the bizarre. Edinburgh also hosts a massive Hogmanay, or New Year, celebration with music and dancing in the streets all through the night and often into the next day. The city is at its busiest during the August festival and again at New Year. Public transport by bus and tram is available from the airport to the city centre. Downside: It is an expensive place to visit at peak periods and it can be tough to find a place to stay. Your first visit should be at quieter times. To read: Edinburgh is a literary city and so many novels have

Literary or mainstream fiction: a story in which the protagonist wants to better understand a universal human truth or their place in the world. Romance: a story in which the main character wants love. Western: a story set in the Old West and in which the main character wants things to be fair, and black and white. Horror: a story in which the main character wants to over-come fear and survive. Science fiction: a story in which the main character wants to better understand a universal human truth or their place in the world, plus often find an escape, set in the future. Fantasy: a story in which the main character needs an object and an adventure (whether they know it or not), set in a fantasy world. Mystery (including all its subgenres, such as thrillers and private eye novels): a story in which the main character wants justice. Young adult: a story in which the main character is twelve to eighteen years old and wants at least one of the above (the same applies to middle grade, except the main character is eight to twelve years old).

Individual behavior, they note in Prolegomena to the Construction of the Central City (significantly, the first neohuman work not to have a named author), was to become ‘as predictable as the functioning of a refrigerator.’ Indeed, while writing down their instructions, they acknowledged as a main source of stylistic inspiration, indeed more than any other human literary production, ‘the manual for electrical appliances of medium size and complexity, in particular the video player JVC HR-DV3S/MS.

The ongoing problem with most American poetry & poets today is their lack of belief in themselves & that they don't expand upon their ideals or experiment enough with their craft. That's why we are all stuck in the same old literary grind & groove still pushing out old ideas, listening to ridiculous banter of egotistical critics & still worshipping the old schools & movements of long past yesterdays from decades ago. Dead icons, dead ideas, dead slams and an established academic system that's biased and too busy promoting all the cliche events that they believe are all about community but mainly promoting their own of which are not open to all poets without degrees but mostly only to students & the inner sanctum. Poetry is for everyone and it needs a new vision of our times. The 21st century. The majority of poets who are producing new & original works are being ignored. Poetry should be independent and free of bias and uncategorized. Workshops or classes are not the solution.