disenchant

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If this is the enchanted intervention of some Shelleyan 'unacknowledged legislator' targeting the 'hard-to-notice' orthodoxy of a culture's regard for history or poetry, it is an intervention encompassed by a disenchantment with poetry itself.
What becomes apparent as one reads through Brown's first four volumes is that where the poems express disenchantment with poetry--and with the legacy of romanticism's exaltation of the form--they do so in the context of an on-going engagement with the structures--symbolic and economic--of global capitalism.
The disenchantment of the author function, along with this disenchantment of the poem, perhaps offers the poet and reader the chance to exempt their text, their production and consumption of it, from the systems of commodity' exchange of which Brown is so wary.
The poet is making a case about the important and signifying 'weakness' (the 'biggest strength') of poetry', hence the cliche, that trope of disenchantment commonly featured in many of Brown's poems, is apparent in the almost automatic coupling of 'strangely' with 'serene'.
In particular, the core anxiety and focal point of this poetics of disenchantment is 'you'.
In a poem like '12XU' betrayal shades into paranoia limned by a now typically romantic sense of disenchantment. The poem begins, as it seems it must, with the originating crime, but here the scene is not that of a lover's desertion but rather a scene of composition.
The cover of The Disenchantments features a cute girl in a rainbow T-shirt adjusting a pair of red, oversized sunglasses.
Ross's argument ultimately reveals his conservative, anti-Marxist core-narrative, revealed in a parenthetical aside when Ross suggests that thinking of literature as communication is awful, close to disenchantment, but communism is worse (356).
The chapter titles reflect this repetition of anti-structure structure, representative of something like a fractal or a mise-en-abyme or a postmodern polychoral antiphonal liturgical chant: "Preface: Disenchantment"; "Introduction: Death of Nature"; "1: Nature's Enchantments"; "2: Truth's Enchantments"; "3: The Good Enchanting"; "4: Art Enchanting"; "5: Enchanting Bodies"; "6: Betraying Enchantment"; "7: Beyond Enchanting." For the postmodern essence of the book, we can read only the endnotes, which are often lengthy and fascinating--or irritating--depending on our responses to performances substituted for critiques.
Against Max Weber's assertion that modernity "is characterized by rationalization and intellectualization and, above all, by the 'disenchantment of the world'" ("Science as a Vocation," 1918), Ross suggests that the world has always been disenchanted and enchanted.
Wonder and abundance interrupt disenchantment's divisions in the multiplicities and anomalies of enchantment" (97).
But I am afraid that he will alienate a large portion of a sympathetic audience, thus contributing more to the spirit of disenchantment than to the spirit of enchantment he favors.