Queer Theory & Futurism

[Phillip Grayson]

Mmm,
Well put.


On Sat, Feb 20, 2010 at 8:58 PM, Mark Kohut <markekohut at yahoo.com> wrote:

> Damn good question I say, and damned if I, quick draw no matter what, have
> an opinion.
>
> Quick second thought: prolly. After the modernists created into the
> modernity they, and TRP, hated, and said that....most art after that was
> compromised by being part of modernity.........???
>
> Which may be why 1) the modernists (and earlier) seem to matter most to TRP
> and 2) why some low artforms---mystery novels, cartoons, movies before they
> were 'films', etc. matter most later to TRP.
>
>
>
> --- On Sat, 2/20/10, Phillip Grayson <phillip.grayson at gmail.com> wrote:
>
> > From: Phillip Grayson <phillip.grayson at gmail.com>
> > Subject: Re: Queer Theory & Futurism
> > To: "Monte Davis" <montedavis at verizon.net>
> > Cc: "Mark Kohut" <markekohut at yahoo.com>, "pynchon -l" <
> pynchon-l at waste.org>
> > Date: Saturday, February 20, 2010, 8:44 PM
> > Obvious I guess and prolly well explored
> > already, but with all the pastiche and such, is there the
> > possibility that AtD mocks an artistic deterioration since,
> > say, _Ulysses_ along with a cultural one since WWI?
> >
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> > On Sat, Feb 20, 2010 at 8:40 PM,
> > Monte Davis <montedavis at verizon.net>
> > wrote:
> >
> > Mark Kohut sez:
> >
> >
> >
> > > you will recall that marinetti's futurism is
> > savaged big time in AtD...
> >
> >
> >
> > Indeed it is, and the rush of wind that the Futurists
> > loved (re-read the dive-bombing, sport with the flying
> > girls) blows straight into hair-straight-back, Rockwell
> > Kentish, wind-tunnel Nazi aesthetic:
> >
> >
> >
> > "Roland too became conscious of the wind, as his
> > mortality had never allowed him. Discovered it so . . . so
> > joyful, that the arrow must veer into it. The wind had been
> > blowing all year long, year after year, but Roland had felt
> > only the secular wind . . . he means, only his personal
> > wind. Yet . . . Selena, the wind, the wind’s everywhere .
> > . . ."
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