For centuries, a central goal of art has been to make us see the
world with new eyes. Thinkers from Edmund Burke to Elaine Scarry
have understood this effort as the attempt to create new forms. But
as anyone who has ever worn out a song by repeated listening knows,
artistic form is hardly immune to sensation-killing habit. Some of
our most ambitious writers--Keats, Proust, Nabokov, Ashbery--have
been obsessed by this problem. Attempting to create an image that
never gets old, they experiment with virtual, ideal forms. Poems
and novels become workshops, as fragments of the real world are
scrutinized for insights and the shape of an ideal artwork is
pieced together. These writers, voracious in their appetite for any
knowledge that will further their goal, find help in unlikely
places. The logic of totalitarian regimes, the phenomenology of
music, the pathology of addiction, and global commodity exchange
furnish them with tools and models for arresting neurobiological
time. Reading central works of the past two centuries in light of
their shared ambition, Clune produces a revisionary understanding
of some of our most important literature.
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