By Richard R. Bozorth
The 1st full-length attention of Auden as a gay poet, this quantity exhibits that Auden's occupation used to be tied to a technique of homosexual self-interrogation extraordinary in sleek poetry and argues that he was once pushed via a strong craving to understand the mental, political, and moral implications of same-sex hope. Auden's theories approximately poetry within the Thirties and after mirrored an extreme main issue with find out how to write publicly as a gay poet. That fight used to be made take place in his love poetry, which Bozorth argues constitutes a type of "erotic autobiography" exploring the detailed demanding situations of gay love.Bozorth's process is manifold, interpreting the poet's engagements with avant-garde poetics, homosexual culture, psychoanalysis, leftist politics, and theology. This ebook proposes that from his early fascination with undercover agent and trickster figures to his later theories of poetry as an I-Thou relation, Auden considered poetry as a fictional yet primal erotic stumble upon with the reader.
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Additional info for Auden's Games of Knowledge
In writing it I had the sense of sending home to friends and colleagues dispatches from a front line in our joint war against censorship. (x-xi) It is not news, of course, that the Auden group had a sense of common purpose. Spender’s 1951 World Within World fleshed out the coterie’s origins at Oxford in the 1920s, but the legend was well underway in the 1930s. After Michael Roberts and John Lehmann’s formative 1932 anthology New Signatures, critics began to treat these writers as a movement, and the Auden group reinforced this sense with dedications to each other and allusions to each other’s work.
3 Such an argument does risk reductiveness: as D. A. 4 The distinctive topoi and terrain of these poems—where mysterious forays are made on guarded frontiers, and loyalty is always suspect—have been read quite plausibly in terms of modernist alienation, radical politics, psychic schism, and adolescent angst. We need not reject such readings of his work, as if these things did not impinge on sexual politics. In fact, we must not reject them, for it is crucial to the signifying operations of Auden’s early poems that we be able to read them “innocently,” as having nothing to do with homosexuality.
Qxd 5/10/01 14:12 Page 17 introduction 17 lost by not adhering to the younger Auden’s usage of “bugger,” “crook,” and “invert,” he seems not to have been systematic, and in any case, “homosexual” and “homosexuality” are often his words of choice, routinely so in later years. It has become harder in academic discourse to avoid the implications of essentialism that lurk in “gay,” so I have largely avoided it, but as is already clear, “queer” is immensely useful for describing Auden’s own critiques of essentialist identity and normative regimes of thought.
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