Imagination

57. “Far-ranging mockery Wealth of possibility whose individual possibilities tend to cancel one another out”

“…open-ended, provisional, characterized by suspended judgments, disbelief in hierarchies, mistrust of solutions, denouements and completions, by self-consciousness issuing in tremendous earnestness but also in far-ranging mockery, by emphasis on the flesh to the anachronization of the spirit, by a wealth of possibility whose individual possibilities tend to cancel one another out, by unfreedom felt as freedom and the reverse, by cults of youth, sex, change, noise and chemically induced ‘truth.’ It is also a reality harboring a radical mistrust of language, writing, fiction, the imagination.”

– Richard Gilman: Review of Donald Barthelme’s ‘Snow White’, New Republic Vol. 156 Issue 22, 3 June 1967

 
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59. “One “retracts””

Each one (retracts) within the time of the utterance of his fellow.

– The Babylonian Talmud, Tractate Sanhedrin

Reality no longer sustains the values necessary to the creation of Snow White…, or the witch or the dwarfs; it lacks the floor under the imagination, the ingredients of possible aspiration, the hunger for simulated fate, to create “stories” of any kind. There is therefore no happy ending to this Snow White, no denouement except one that mocks the original’s, no satisfaction to be obtained from a clear, completed arc of fictional experience. Fiction, Barthelme is saying, has lost its power to transform and convince and substitute, just as reality has lost, perhaps only temporarily (but that is not the concern of the imagination), its need and capacity to sustain fictions of this kind…. [The] book makes its way by dealing steadily with the problems of language. One “retracts” what the written world has been composed of not by ignoring it, by writing new language, but by discrediting it as the answer to one’s own contemporary needs.

– Richard Gilman: ‘Donald Barthelme’ reprinted Random House in ‘The Confusion of Realms’ in 1969 

62. “Status in imagination”

The Imagination then I consider either as primary, or secondary. The primary Imagination I hold to be the living Power and prime Agent of all human Perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I Am. The secondary I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to re-create; or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.

– Samuel Taylor Coleridge: ‘Biographia Literaria’, 1817