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What we call a poem is mostly what is not there on the page. The strength of any poem is the poems that it has managed to exclude.
What matters in literature in the end is surely the idiosyncratic, the individual, the flavor or the color of a particular human suffering.
What is supposed to be the very essence of Judaism - which is the notion that it is by study that you make yourself a holy people - is nowhere present in Hebrew tradition before the end of the first or the beginning of the second century of the Common Era.
What I think I have in common with the school of deconstruction is the mode of negative thinking or negative awareness, in the technical, philosophical sense of the negative, but which comes to me through negative theology.
We read deeply for varied reasons, most of them familiar: that we cannot know enough people profoundly enough; that we need to know ourselves better; that we require knowledge, not just of self and others, but of the way things are.
The world gets older, without getting either better or worse and so does literature. But I do think that the drab current phenomenon that passes for literary studies in the university will finally provide its own corrective.
The world does not get to be a better or a worse place; it just gets more senescent.
The second, and I think this is the much more overt and I think it is the main cause, I have been increasingly demonstrating or trying to demonstrate that every possible stance a critic, a scholar, a teacher can take towards a poem is itself inevitably and necessarily poetic.
Sometimes one succeeds, sometimes one fails.
Shakespeare will not make us better, and he will not make us worse, but he may teach us how to overhear ourselves when we talk to ourselves... he may teach us how to accept change in ourselves as in others, and perhaps even the final form of change.
Shakespeare is universal.
Shakespeare is the true multicultural author. He exists in all languages. He is put on the stage everywhere. Everyone feels that they are represented by him on the stage.
No poem, not even Shakespeare or Milton or Chaucer, is ever strong enough to totally exclude every crucial precursor text or poem.
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