By Gary A. Olson, Lynn Worsham
A desirable examine how a number of the world's most outstanding students conceive in their personal dating with writing and with the paintings of being a severe highbrow.
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Do you think consciously about the problems of writing as you are composing? Do you think of yourself as a writer? A. I think that in general one thinks consciously about what one is composing but that what one is composing also happens in a way that exceeds one's own consciousness of what one does. So, for example, after I finish writing something I can look back and see that I have made implicit citations to other styles of writing without knowing that that's what I have done, or that I've tried to achieve something by pushing grammar in certain ways because what I was trying to think about couldn't quite be contained within the grammar that was available to me at the time.
So, I think that in conversation itself, we give words shapes, especially these big words which are important but vague. Perhaps these shapes will be ones that will remain with us after the discussion.
Q. " This statement seems to characterize your critical practice in general. Do you agree? A. Yes, I do agree. That was an important thing to say. People are very much afraid of criticism; they think criticism is destructive. " is generally under-read) and in Walter Benjamin when GARY A. OLSON AND LYNN WORSHAM 49 he writes about the critique of violence, for instance. That sense ofcritique has to be dissociated from a sense ofdestruction or pure negation. What it's really about is opening up the possibility of questioning what our assumptions are and somehow encouraging us to live in the anxietyofthat questioning without closing it down too quickly.