By Richard R. Bozorth
The 1st full-length attention of Auden as a gay poet, this quantity indicates that Auden's profession was once tied to a means of homosexual self-interrogation unprecedented in smooth poetry and argues that he was once pushed through a robust craving to realize the mental, political, and moral implications of same-sex wish. Auden's theories approximately poetry within the Nineteen Thirties and after mirrored an excessive situation with how one can write publicly as a gay poet. That fight was once made appear in his love poetry, which Bozorth argues constitutes a type of "erotic autobiography" exploring the exact demanding situations of gay love.Bozorth's process is manifold, interpreting the poet's engagements with avant-garde poetics, homosexual way of life, psychoanalysis, leftist politics, and theology. This booklet proposes that from his early fascination with undercover agent and trickster figures to his later theories of poetry as an I-Thou relation, Auden considered poetry as a fictional yet primal erotic stumble upon with the reader.
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Extra info for Auden's Games of Knowledge
Qxd 5/10/01 14:12 Page 19 sexual politics and coterie poetry 19 the late 1920s has typically and rightly been understood to reflect a precocious absorption of high modernist technique. Auden’s embrace of modernism, however, also embodies an intricate response to a problem many other writers have faced: how to write public poetry out of the closet. In the work of poets as varied as Byron, Whitman, Dickinson, Hopkins, H. 2 If he never achieved celebrity on their scale, neither did he pay their price for testing England’s tolerance for open secrets.
Addressed—often ambiguously—to Kallman and to others, his later love poems interpellate every reader as the beloved, seeking to honor the multiple, conflicting responsibilities of erotic experience. In devoting chapter 6 to Auden’s religious poetry and thought, I examine how questions of unspeakability and particularity inform his existentialist Protestantism. For while Auden professed the traditional belief that homosexuality was sinful, his religious poetry typically transposes secrecy into a metaphysical condition, in which the divine is the unknowable object of desire—the unspeaking, unspeakable deus absconditus.
1929 was the last year of that strange Indian Summer—the Weimar Republic. For many of my friends and for myself, Germany seemed a paradise where there was no censorship and young Germans enjoyed extraordinary freedom in their lives. . Another result of censorship was to make us wish to write precisely about those subjects which were most likely to result in our books being banned. . All this explains, I think, a good deal about The Temple. This is an autobiographical novel in which the author tries to report truthfully on his experiences in the summer of 1929.