Sublime

Yet in lining up the external poetic chips into publishable “articulateness” rather than “indwelling,” you face the danger of writing what poet Derek Walcott terms “a fake poem.” Still, many yearn for the status that public recognition brings, even as they recognize the possible falsity involved.

While the ideal of life as work of art served as an alternative to the pecuniary metaphor of life as a business and to the rational, ends-driven thinking associated with the commercial sphere, in the late twentieth century the Romantic idea of the artist sequestered from the demands of the market gave way to a new model of the artist as an