The Aesthetic Anxiety: Avant-Garde Poetics, Autonomous Aesthetics, and the Idea of Politics

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If you are personally acquainted with any significant number of poets, you will perhaps not be surprised to find that the thesis of this essay is as follows: poets want to have their cake and eat it too. The particulars of the argument, though, go beyond the intuitive and the obvious, or so I hope. What I want to say is this: since the nineteenth century, poets have faced a dilemma. On the one hand, many poets have felt the allure of the radical freedoms of an entirely autonomous art, an art not in the heteronomous service of any religious function, ideological formation, moral system, cause, or institution, an art that exists for art’s sake alone. On the other hand, poets have faced the anxieties that such autonomy seems, inevitably, to create: fears of losing their readerships, their social roles, and their political utility. Many poets of the twentieth century, especially those affiliated with avant-garde movements, have been haunted by such anxieties, and have sought to assuage them by claiming that a commitment to aesthetic autonomy can, in and of itself, be a form of political action. Such an identification does not bridge the chasm between a belief in autonomous art and a belief in the kind of heteronomous art that serves a cause. Rather, it denies the existence of such a gap, and asserts that the disinterested pursuit of art for its own sake is also, by its very nature, politically efficacious.KeywordsPolitical EfficacyLanguage PoetPolitical RevolutionSurrealist MovementLanguage PoetryThese keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.