Talk:Thomas M. Disch
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AllanAnderson: Wow, this is a very comprehensive article now. I have two qualms: 1. A lot of the stuff about the New Wave belongs, I think, in the New Wave article - or, in the case of the Moorcock discussion, in the Moorcock article. It would make more sense to have just a summary here of what the movement was about. 2. I think the last few paragraphs give the article more of a magazine-feature tone than an encyclopedic one, with phrases like "sour grapes or not" and conjectures like "This increases his universality though it perhaps deprives him of a loyal fan-base"; they're not exactly violations of NPOV but I think they introduce a somewhat obtrusive authorial voice. —Hob←Talk 03:26, 2004 Aug 23 (UTC)
Thanks, Hob! I'm quite new to the Wikipedia, so I'm sure my contributions need massaging. Thanks for the feedback. I can go through the last few paragraphs and try to cut back on my beloved authorial voice. Feel free to go in there yourself, too (not that you need my permission). I think the "Cultural" section could use another name or some sub-headings, as well.
This is all from a big paper I did last semester on Disch and his poetry (or more specifically his poetics). Hence, it probably leans a bit towards Disch the Poet over his many other talents.
I've got some more stuff about some of his specific poems. The "What Wikipedia is not" article says that critical analysis of art is welcomed, so I figured I'd put that in seperate articles. I suspect I lean even more towards "magazine-feature" in these, so perhaps you could let me know what you think. --AllanAnderson 06:35, 23 Aug 2004 (UTC)
I'm removing the following paragraph, with an eye toward maybe merging it into New Wave (science fiction) and/or Michael Moorcock. I left the previous bits that summarized NW. —Hob←Talk 03:36, 2004 Aug 24 (UTC)
- At its worst, New Wave combines unrewarding obscurity with grating pretension; at its best, it pushes together old and new ideas in enlivening ways. Much of Moorcock’s work can hardly be called science fiction; it ranges into cloak-and-dagger parody, gender-bending surrealism, and ambiguous philosophy. His “Jerry Cornelius” series of novels in particular combines a veneer of pulpy super-spy story with a subversive progression into an ever more weird and surreal deconstruction of the genre. By beginning within the expected, Moorcock hooks complacent readers then takes them into unexplored territory. (Disch’s flexible use of form in his poetry sometimes serves a similar purpose.) Samuel R. Delany—a rare breed, the Queer Black Science Fiction Writer—is another contemporary who began as a more traditional science fiction writer but whose ambitions took him beyond the usual boundaries.
