By Dennis Brown (auth.)
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Additional info for Intertextual Dynamics within the Literary Group — Joyce, Lewis, Pound and Eliot: The Men of 1914
In BLAST 1 Lewis apostrophised the intellectual function of writing in terms of a more dynamic model: 'Blast sets out to be an avenue for all those vivid and violent ideas that could reach the Public in no other way' ;43 but in his statement on satiric method (not published until 1917) his cold impersonality is similar to Pound' s ideal: 'Moran, Bestre and Brobdingnag are essays in a new human mathematic. But they are each simple shapes, little monuments of logic. I should like to compile a book of forty of these propositions, one deriving from and depending on the other'.
The poet' s mind is in fact a receptacle for seizing and storing up numberless feelings, phrases, images, which remain there until all the particles wh ich can uniteto form a new compound are present. The emotion of art is im personal. And the poet cannot reach this impersonality without surrendering hirnself wholly to the work to be done. And he is not likely to know what is to be done unless he lives in what is not merely the present, but the present moment of the past, unless he is conscious, not of what is dead, but of what is already living.
214) or as tyrannical husbands whose wives are chosen to bolster their self-esteem through a ritual humiliation in the sex war. Brobdingnag is a spectacular type of the latter ('He has been married twice, and in the first ardour of youth beat Julie's predecessor to death', p. 292); Pere Fran<;ois of the former ('Eventua11y he sprang up, struggling and stamping about the room, and made believe to fling an antagonist out of the door. He came back and sat down again, looking at me for a long time silently, with an air of most insolent triumph', p.