[ilds] RG Justine 1.7 -- why should we hurt one another?

andy nampilot at cox.net
Fri Apr 20 12:54:01 PDT 2007

i am butting in here, tottaly unwarranted and uninvited.
i have been working on a novel about my horrors in vietnam for six years.
in this way, i attain a sort of compromise, by reworking reality, so intead of souls lost to the hell of war, i am not compromised, but get a second chance, using prose poetry as a venue to display the beauty amidst the gun smoke.

best to all
  ----- Original Message ----- 
  From: william godshalk 
  To: ilds at lists.uvic.ca 
  Sent: Friday, April 20, 2007 3:38 PM
  Subject: Re: [ilds] RG Justine 1.7 -- why should we hurt one another?

  Well, I'm still puzzled by the "joyous compromise through art." Does "compromise" here mean "coming to terms with"? Some how the artists come to terms with what has wounded or defeated them in ordinary life? And by this compromise they fulfill their potential destiny in and through the imagination, while ordinary people do not. I suppose that British "should" can be read as the American "would." Some how artists will wound through their realization of their imaginative destiny? It's not that they "want to." It's a concomitant of the compromise?????


  At 02:44 PM 4/20/2007, you wrote:
            For us artists there awaits the joyous compromise through art with all that wounded or defeated us in daily life; in this way, not to evade destiny, as the ordinary people try to do, but to fulfil it in its true potential--the imagination.  Otherwise why should we hurt one another?  (1.7)
       But why are we "willing to hurt each other?" Because artists achieve their potential? Because artists achieve their destiny and ordinary people try to evade theirs?
    Yeah, that last part, the question, is the tough part.  What is its relation to the rather grandiose statements our narrator is tossing about?  And how does the reference to violence connect with the fear and need to protect children?  Cf. the posting on the deleted lines ending this same episode.  

    I enjoy and appreciate in a Paterian sense the seascapes, landscapes, and solitude with the child the narrator presents to us in 1.1 - 1.9.  But when the narrator turns to opining on life & art. . . .  "At times when he is talking like this I have the sudden urge to jump on his back and ride him frantically up and down Rue Fuad, thrashing him with a Thesaurus and crying: 'Awake, Moon-calf!'"

    The interaction between the writers in the book--Darley, the romanticist, and Pursewarden, the ironist--is so necessary.  Not only to the characters inasmuch as the Quartet has quite a bit of kunstleroman about it, but to LD's own balance.  (But then I do something similar in reading Ulysses.  I am increasingly impatient with Stephen.  Poldy is necessary for the balance.)

    Patience. Patience.  Potential for growth.


Charles L. Sligh
Department of English
Wake Forest University
slighcl at wfu.edu
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  W. L. Godshalk           *
  Department of English         *
  University of Cincinnati            Stellar disorder  *
  Cincinnati OH 45221-0069      *


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