And your evidence for these assertions, or have you just been given a ticket
----- Original Message -----
From: "DIana Manister" <[log in to unmask]>
To: <[log in to unmask]>
Sent: Saturday, February 27, 2010 7:23 AM
Subject: Re: 'Gerontion' -- the dramatic arc
> Dear Ken,
> Multiform ambiguity occurs as the writer's unintended meanings distort
> his ostensible intent.
> The narrator of Gerontion is unreliable in a conventional way, in that
> his self-characterizations are undermined by implications of which the
> author is unaware. N's distaste for others is presented as ostensible
> evidence of his superiority, but it betrays intolerance and grandiosity.
> Eliot allows his personal animus to cloud his characterization of
> Gerontion's narrator, which he no doubt intended to be a pious seeker
> of faith but who is easily deconstructed as a snobbish misogynistic
> Gerontion's author's intention is contradicted by unintended signifieds.
> Postmodern authors allow for multiple intentionalities in their texts,
> and their texts can often withstand deconstruction as Gerontion cannot.
> 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?
> > Ken