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In a poem like '12XU' betrayal shades into paranoia limned by a now typically romantic sense of disenchantment.
Yes, the sentiment is unmistakably romantic, as is the language, but such expression is only possible by way of a disenchantment that in a first instance, advocates for the poem's reception in semiotic silence so that it may 'declaim' the 'unspeakable', which is, precisely, an impossible poetry no other can read, interpret or appropriate.
Together, the disenchantment of form and the appearance of an enchanted ideal engender the antinomic heart of the romantic ideology.
This is to the point in a poem like 'Cashpoint: A Pantoum', a poem that represents well the tendency in Brown's work for disenchantment to manifest as a formalist concern, to the point where such poems declare their complicity' with that of which they are critical.
Even Brown's most automated poems still signify poetry; they still trace the privilege the romantics afforded poetry--as exception, as anti-commodity, as dissendng form--but through a process of disenchantment that offers (the illusion of) an alleviation of responsibility for their inevitable consumption.
These regularities--responsible, one might say, for the maintenance of a 'hard-to-notice' 'indifference' ('Museums and Murals' (19))--are what naturalise ideas about poetry, particular readings (or non- readings as the case may be), but also a poetics of ostensibly post-romantic disenchantment.