By Richard R. Bozorth
The 1st full-length attention of Auden as a gay poet, this quantity indicates that Auden's occupation was once tied to a technique of homosexual self-interrogation unheard of in smooth poetry and argues that he was once pushed through a strong craving to appreciate the mental, political, and moral implications of same-sex wish. Auden's theories approximately poetry within the Thirties and after mirrored an extreme drawback with how one can write publicly as a gay poet. That fight used to be made take place in his love poetry, which Bozorth argues constitutes one of those "erotic autobiography" exploring the unique demanding situations of gay love.Bozorth's technique is manifold, analyzing the poet's engagements with avant-garde poetics, homosexual tradition, 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 considered poetry as a fictional yet primal erotic come upon with the reader.
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Additional info for Auden's Games of Knowledge
While he never specifies this “act,” his phrasing recalls Bradshaw’s comment that Mr. ” Implications of homosexuality do come to the surface when Shreeve recalls the comment of another person that Wrygrave’s “ ‘vice is branded on his face,’ ” so that we are invited to link sexual deviance with crime (57). But since we never meet Wrygrave, all indications of his guilt come to us from the questionable Shreeve. Moreover, as the story proceeds, our narrator’s reliability becomes more and more questionable, so that in the end, we cannot even be sure the train was sabotaged.
Moreover, as the story proceeds, our narrator’s reliability becomes more and more questionable, so that in the end, we cannot even be sure the train was sabotaged. We are left with a mystery not so much about the culprit as about whether we should see the story as a mystery at all, and if so, whether it has a solution. Shreeve’s comment to Hearn at one point is perfect advice for the reader: “ ‘Mind you,’ he seriously, theatrically commented, ‘I’m not guaranteeing you’ll see anything. And if by any wild chance you do, it will be something so indefinable that afterwards you won’t be sure that you haven’t imagined it’ ” (52).
Thus, while it went unpublished in the 1930s, The Temple did become public as an allusion in the first ode of The Orators (1932), where Auden has “Stephen” crying out, “ ‘Destroy this temple’ ” (EA 95). Beyond the biblical reference, the line would mean little to readers ignorant that “the temple” is Spender’s image for the eroticized male body. But such ignorance is to the point: the allusion classifies readers according to what they know (or suspect) about the Auden group and homosexuality. The next stanza finds “Christopher .
Auden's Games of Knowledge by Richard R. Bozorth