By Richard R. Bozorth
The 1st full-length attention of Auden as a gay poet, this quantity indicates that Auden's profession was once tied to a means of homosexual self-interrogation unheard of in smooth poetry and argues that he used to be pushed by means of a strong craving to understand the mental, political, and moral implications of same-sex hope. Auden's theories approximately poetry within the Nineteen Thirties and after mirrored an excessive situation with tips on how to write publicly as a gay poet. That fight was once made show up in his love poetry, which Bozorth argues constitutes a type of "erotic autobiography" exploring the particular demanding situations of gay love.Bozorth's method is manifold, studying the poet's engagements with avant-garde poetics, homosexual lifestyle, 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 seen poetry as a fictional yet primal erotic stumble upon with the reader.
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Additional resources for Auden's Games of Knowledge
As a poetic game, it offers an openended exercise that does not expose the poet’s intentions so much as test the reader’s interpretive and erotic orientations. This poem has implications for the Auden group’s “joint war against censorship,” for if it testifies to discursive and erotic repression, its resistance is compromised by the very coding with which it contests the closet. One might say that it forswears victory for opposition, accepting the closet in order to exploit it for an erotics of textual obscurity.
Multiple readings inflect the closing lines as well. e. they would shoot each other). But “they” could also be the allies who have abandoned him, making this last gunfight merely his projection of self-destruction onto the “companion” he never had. If “Control of the passes” is a commentary on Auden’s failed desire for McElwee and/or Carritt, with Auden cast as “the trained spy,” he is unable to locate the source of failure precisely, for he leaves unresolved whether that failure proceeds from inhibition or rejection, and he seems uncertain whether rejection is avoidable.
By concluding with an analysis of Auden’s 1935 comments on what he calls “parable,” chapter 4 serves as a linchpin for this book’s overall argument. For in parable, Auden first theorizes poetry as a noncoercive way of making the poet’s experience useful for the reader. qxd 5/10/01 14:12 Page 14 14 introduction to be a public poet, but an evolving effort to mediate his own particularities as a homosexual poet and those of readers. Dovetailing with his habitual coding of homosexuality as crookedness, “parable” implies the obliquity and indirectness with which such a mediation takes place.
Auden's Games of Knowledge by Richard R. Bozorth