American Blog Post

From Evelyn Waugh’s The Loved One:

“Dennis sat in one of the arm-chairs, put his feet on the trolley and settled himself to read. Life in the Air force had converted him from an amateur to a mere addict. There were certain trite passages of poetry which from a diverse multitude of associations never failed to yield the sensations he craved; he never experimented; these were the branded drug, the sure specific, big magic. He opened the anthology as a woman opens her familiar pack of cigarettes.

“Outside the windows the cars swept past continuously, out of town, into town, lights ablaze, radios at full throttle.

“‘I wither slowly in thine arms,‘ he read. ‘Here at the quiet limit of the world,” and repeated to himself: ‘Here at the quiet limit of the world. Here at the quiet limit of the world” . . . as a monk will repeat a single pregnant text, over and over again in prayer.”

I posted earlier about evocative phrases that seem to be evocative only, in some way, through cheap trickery, and here they are is again. Dennis Barlow is not only a poetry addict, but a well-known hack poet, and like nearly every character in a Waugh novel, is entirely superficial and devoid of any genuine concern for the world. Whether we’re only meant to be laughing at Dennis for his superficial use of the poem (Tennyson’s “Tithonus”), or whether Waugh is making fun of Tennyson as well (which seems likely), this sort of relationship between reader and phrase is familiar. All Dennis is after, here, is the physiological effect that the particular phrase “at the quiet limit of the world” has on him. There is certainly something wrong with his superficial style of reading and failure to move beyond the old and familiar, and that is the main point of this scene, but it also brings up an issue about poetry in general that I can’t resolve. I can’t come up with a qualitative difference between a good poetic phrase, which still has a primary purpose of creating sensations, and a “branded drug” that may turn off the discerning reader, but that is nevertheless effective. What makes one way of evoking a sensation seem ‘cheap’ while another does not?

One major difference, I suppose, is originality, which bears on the reader as well as on the poet. Outside of poetry, one example of the “branded drug” I’ve found is the use of of the word ‘American’ to give a sense of import to a title. Thus, American Pastoral, American Psycho, American Gods, American Splendor, American Graffiti, American Beauty, American Beauty, American Gangster, American Gangster, American Water. The word, used in this context, seems to have turned, over the years, into an empty commonplace used to signify that This Is Big And Important. (American Pie doesn’t count because it is nearly impossible to make food sound serious.) The reason it might seem empty now, as it seems for me, is simply that it’s been done so many times before – setting the doubts that that casts on the creator aside, that gives it the sense of being prepackaged, particularly since it is used in the title, where it can easily resemble a brand.

But it’s not just originality or novelty, and it’s not just the fact that flashy phrases can distract from bad writing, dull ideas, aesthetic blunders, and so on. Some phrases just seem easier than they ought to be, and we, too clever to be so readily manipulated, push them away. I think there is more to our preference for poetry that avoids taking shortcuts on the way to our seratonin glands than simple admiration for the amount of effort put in by the poet. But where exactly is the corny different from what we perceive as genuinely powerful?


One response to “American Blog Post

  1. And almost immediately I find a possible answer in Henri Bergson’s _Time_and_Free_Will_: “[…] the merit of a work of art is not measured so much by the power with which the suggested feeling takes hold of us as by the richness of this feeling itself: in other words, besides degrees of intensity we instinctively distinguish degrees of depth or elevation. If this last concept be analysed, it will be seen that the feelings and thoughts which the artist suggests to us express and sum up a more or less considerable part of his history. If the art which gives us only sensations is an inferior art, the reason is that analysis often fails to discover in a sensation anything beyond the sensation itself.”

    Fair enough. I don’t agree that the ‘richness’ of a feeling can be explained as the degree of self-expression – while my favorite novel may contain a famous statement that “the supreme question about a work of art is out of how deep a life does it spring,” I will readily point out that Joyce put these words in George William Russell’s mouth, not his own – but I might be convinced that there is another dimension by which we can judge a sensation besides intensity. I’m not sure how to define it, though, without getting into the elitist assertion that my pleasure is better than yours because mine comes from higher art.

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s