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Cluster index: Daniel Bosch

Poetry and the fearful symmetry.

Daniel Bosch: ‘The optical is the existential. The instant night falls, we see less well, and conversely—perversely—we “hear things.” Night estranges. The certainties of day-lit labor yield to doubt: What was that? At night our imaginations, less-constrained by the sharp edges of the visible, and, as in childhood, less-convinced by rationalization and counter-evidence, confirm and reconfirm: We are not safe in night. We do not belong to it. Ancient cookfires and hearths—the first footlights—we won dim globes from darkness in which learned to what we do belong. ‘

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The cover-letter as manifesto.

Daniel Bosch: ‘Writers who are truly honest about art and pedagogy admit that most of the time both end in failure. At the Bauhaus this fact was bedrock, not pillow-talk: the curriculum was designed around honest play with materials.

‘I believe a Bauhaus-type approach might help lead to needed reform in the teaching of creative writing. So in a cover letter…

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Imaginatio Lego Sum.

Daniel Bosch: ‘With the Legos I played with in the mid- to late-60s—tiny and small, rectangular and square bricks and flat panels in red, blue, yellow, green, white, and black—one constructed a not terribly duck-like “duck” of one’s own. Its modular, additive making, brick by brick—the felt sharpness of its corners and the lifelessness of its individual, abstract plastic elements, the near-conformity of its coloration to a modernist grid, all these characteristics, and more—enabled a more embodied, active, and open engagement with one’s “duck” and with Legos as a medium.’

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The incredible Anthony Hecht.

Daniel Bosch: ‘Hecht’s attraction to certain kinds and formulations of words is too common to be insignificant, yet not frequent enough to constitute some sort of radical aesthetic challenge to institutional norms. Something bigger is going on when Hecht pulls out a doozy, or three doozies, something bigger than his urge to describe well or to tell a good story. These outbursts are about him, psychologically, and ultimately, such self-referentiality weakens not only each work individually but…Hecht’s work as a whole.’

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