Please note that I distinguish between Gerontion's narrator as a
fictive creation, and Eliot the author.
You treat them as one.
Sent from my iPod
On Feb 27, 2010, at 9:30 AM, Ken Armstrong <[log in to unmask]>
> DIana Manister wrote:
>> Who says the Jew is Jesus? He's depicted as negatively as Fresca
>> and von Kulp. Who are they? Mary Magdelene and The Blessed Mother?
> You have to place yourself in the poem. Where is Gerontion while
> being read to by a boy? What is being read? Where does one find "the
> jew" (not "a jew") squatting on a window sill? One who owns "the
> house"? One who has been spawned, blistered, patched and peeled,
> i.e. the "fish" in stained glass in just those city-centers of
> Europe? What is the significance of the poem's locale to "the field
> overhead"? You'd have to give up your fantasy Eliot, the negative
> one for whom all things created in his poetry somehow equate to
> psychological fissures and fractures, to dig to the real one whom
> the critics you quote do not touch. The odd thing to me is how
> obvious it is that he hasn't been touched, that such an easy
> identification of "the jew" is so difficult for the Eliot
> Distraction League to simply see, not to say they couldn't sober up,
> gather themselves, and push on from that obvious beginning
> What happened to your championing of multiform ambiguity? What are
> the windy spaces and who supplies the wind?