Political Philosophy of Poetry

 “There was a cleanness and simplicity about these machines” (Terry Eagleton, Saints and Scholars 37). Reading could be decisively different from what it is like now. Instead of an overheated outburst of interpretation, it could be a coldly conducted vivisection of literary fiber. An understanding of the character may purge the confusion imposed on the  musings about it.

 The character finds oneself amidst the global crisis of just about everything. The historical context of the occurrence is blurred by the emphasis on the beauty of Cronos’s unimportance. That complicates understanding. Because the character comments on the notion of Martian-Saturnalian ethnicity and the observation triggers the initial reaction in a celebratory key of the antinationalist tone. The first response to such blatant political illiteracy is that it must have resulted from another  blind spot. Namely, in the scene in which the character is choosing attire for the evening at the theater, random thoughts reveal that the current existential situation is a far cry of the solid middle-class background. The economic degradation discloses another unexpected fact--an aspect of life typically not linked with economic potency. More precisely, the fewer the items in the wardrobe, the greater anxiety and insecurity takes hold of the life of this shivering, unprotected being just about to set out to spend early evening hours immersed in the enchantment of the stage.

“The city was glutted with crap and garbage and screaming to be purged” (Terry Eagleton, Saints and Scholars 36). 

If there is political philosophy of poetry, one imagines it as a logical colossus standing on the four gigantic pillars of what is reasonably salient: (1) solid causal base; (2) empirically testifiable propositions; (3) correspondence between the conclusion and its consequences; and (4) practically justifiable application of  their interpretative ramifications.

If these four giants hold the structure steadfastly, they spell out the following ideas about contemporary culture:

1.      The idea of safety must be equated with the frequency of visits of club goers to the hottest dance hubs in the city;

2.      Job must be understood as anything an individual does in order to support the development of small and medium businesses;

3.      The concept of job,  thus, includes the not-for-profit sector, thereby subverting traditional perception of employment;

4.      Equality must be understood in incremental class terms;

5.      Military-entertainment complex must be read in a freudian key;

6.      Peace must be tightly woven with, but at the same time diametrically disproportionate to, inflation;

7.      Tradition must be either smashed at a stroke or preserved within a fortress-like bubble;

8.      Art must be either totally free or there will be none;

9.      Citizenship must be a matter of(f) the bloodline, unquestionably founded in legislature;

10.  The degrees of humanity must be implemented in the health program  defined in architectural terms.