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inventive writers are naïve bukowskis, shunning critical thought in favor of a mystical “writing course of,” drunk on language, among other things. There is a grain of reality, if solely a grain, in these stereotypes. I’ve heard graduate college students in literature complain that the calls for and conventions of scholarship detract from the eagerness for studying that drove them to enroll in grad school to start with. And as for the artists themselves, works-in-progress are certainly messy, amorphous, unscholarly, ungrounded in references and sometimes missing a way of literary historical past. Even more polished, “publishable” works haven’t yet confirmed themselves anyplace near worthy of our ongoing scrutiny within the manner of Milton, Shakespeare, the Bröntes. Consider Harold Bloom’s The Western Canon, with its four ages; there could also be some dispute about what goes within the first three, however even Bloom admits that so far as his “Chaotic Age,” i.e. the 20thcentury, goes, his alternatives are extremely speculative, a veritable guessing-game. How rather more chaotic, then, the work that’s being saved and backed up on a hard drive as we converse, characters springing Athena-prefer to life behind their morning newspaper and low, or reduce out of the universe on intuition and whim, provisional endings to fulfill deadlines, scenes to be excised, rearranged, factors of view upended, key traces of dialogue yet to be inserted as a result of the writer has yet to overhear

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