Moving effortlessly between symbolist poetry and Barbie dolls,
artificial intelligence and Kleist, Kant, and Winnicott, Barbara
Johnson not only clarifies psychological and social dynamics; she
also re-dramatizes the work of important tropes without ever losing
sight of the ethical imperative with which she begins: the need to
treat persons as persons.
In "Persons and Things," Johnson turns deconstruction around to
make a fundamental contribution to the new aesthetics. She begins
with the most elementary thing we know: deconstruction calls
attention to gaps and reveals that their claims upon us are
fraudulent. Johnson revolutionizes the method by showing that the
inanimate thing exposed as a delusion is central to fantasy life,
that fantasy life, however deluded, should be taken seriously, and
that although a work of art is formed around something missing,
this void is its vanishing point, not its essence. She shows deftly
and delicately that the void inside Keats s urn, Heidegger s jug,
or Wallace Stevens s jar forms the center around which we tend to
organize our worlds.
The new aesthetics should restore fluidities between persons
and things. In pursuing it, Johnson calls upon Ovid, Keats, Poe,
Plath, and others who have inhabited this in-between space. The
entire process operates via a subtlety that only a critic of
Johnson s caliber could reveal to us.
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