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If you imagine your artwork is living, it can also die.
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It's a kind of hauntedness that surrounds Nabokov's vision of aesthetic bliss
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as one's response to that autonomous artwork.
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Kerouac represents a whole group of writers, the Beats,
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who reject the formalism embodied by both O'Connor and Nabokov.
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They reject that formalism as an impediment to language's access to the real,
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and to our access to the real through language.
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They dream of an unmediated relationship between experience and the word.
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They don't think so much of language
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as a mediating force as an expressive force.
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I argued in my second lecture on On the Road that,
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in the end, that dream looks quite deflated