People talk of “good” or “peaceful” deaths as if they’ve seen one, but it’s always looked like agony to me, despite the morphine. “
The Dream Won’t Come True, Kathy Fagan
“The flatness I have in mind is also a form of rejoinder to a calamitous present. It, too, short-circuits the expectation that subjects will authenticate themselves through confession or breakdown, that they will call forth hidden but unfeigned intensities of feeling through their own meticulous artistry. Crucially, although a far cry from the honnêteté lofted by the crosscurrents of courtly and early commercial society, it retains what Pascal identified as an intimacy with judgement. Materializing in scenes and histories of violence, it ultimately sidesteps or leapfrogs an understanding of such contexts as traumatic, to land on the simple verdict that they are wrong. Without saying that this is a more radical approach to a political poetics, I would nonetheless suggest that it is a crucial and overlooked style of critique. In the us in particular, such flatness confronts a public culture that has long appealed to unexamined and unmanaged feeling to supercharge repressive programmes and paranoias.”
[…]
” A recessive poetics doesn’t have to be radical: it might be timid, callous or boring. As Eisen-Martin’s work suggests, because flatness is embedded in a sense of the present as not only cruel but monotonous, it has definitively seceded from more exuberant or animated forms of expression; if it didn’t, it would not be flatness but melancholy. One might accuse it, then, as one might accuse these poets, of refusing or being unable to present a model of social life that is ecstatic, and through which human life might finally uncover the full range of its capacities for experience. But flatness is also, or might be, an ethical withdrawal from the impulse to dictate how any other person should encounter themselves. There is no cult of flatness, though there has long been a cult of lyric agitation; and since the latter is in no danger of dissolving, perhaps it might be good to have some alternatives to it.”
Notes on Tone, Anahid Nersessian, New Left Review 142
