Jay and Daniel,

First, Jay, I find lots of manure in pastures, especially considering I
grew up on farms.  Your metaphor might be appropriate to the subject and
your e-mail.  My metaphor is more suited to the topic.  I must say that if
your only answer to my e-mail is to dismiss and give pointers on how to
use spell check, then I must be write (right) about the matter.  The
beauty isn’t self-evident as you claim.  Your elitist mentality is
disheartening.  If you believe your sensibility is superior, I’m certain
you can define the nature of such a well-developed sensibility.  What is
its nature, Jay?  Why is it that only a few erudite professionals and not
real poets--but academics, not versed in poetic sensibility, and unable to
provide a definition of such a superior claim to sensibility, open for
debate and criticism, by others who question it--must continue to keep a
dead artist and his work alive, when there are others more worthy, such as
E.R. Robinson, slaughtered by academics, who have a higher claim to art in
the sense of beauty coupled with vicarious and accessible instruction (I
apologize for the complex sentence, Jay)?  Daniel recognizes the fact that
a ‘profession’ keeps him alive, but wherein do we find the value of his
work?  The justification you’re your work is assumed.  How do you
academics make such a justification?  Where is your justification?  Should
Pound be kept alive only to keep a Profession alive—to keep your paychecks
rolling?  Why is it that your assumptions about art and sensibility can
not be questioned?  And when it is questioned the questions are dismissed?
 Weber must have been right about beauracracies and professions—they take
on life of there own beyond there original purpose.  Far be it for anyone
to question the myth-making academics.  Should your work be left
unquestioned?  I think not.  Fascism would have it otherwise though.  Jay,
I did put this e-mail through the spell checker.


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