literêre piramide
op die geskubte rug van Albrect Dürer se renoster
spring ’n boerbok
haar soort klim mos orals op
ek trap jou pap ek sien nou ver
– blêr sy
maar nie vir lank nie
uit ’n boom swaai ’n aap met vrug in sy hand
tot op die boerbok se rug
& begin vreet
ek kry my sit ek skil jou af
– lag hy
maar nie vir lank nie
’n vis swem tot op die kop van die gapende aap
na onder
gil dit –
jy’t my skubbe gesteel Decima
my gladde lyf glip nou deur alles van almal
maar nie vir lank nie
van sy ruggraat af dring ’n virus die vis binne
tot in die aap se brein
tot in die boerbok se uier
tot in die renoster se horing
wat afgesaag fyngemaal & opgesnuif
word as afrodisiakum deur hongerige lesers
wat uitgemelk word deur dors-na-méér-denkers
wat verbeeldingloos in skryfsels nageaap word
© Carina van der Walt, 2025
‘n Uitmuntende vers wat die snare tot denke stem. Die volgende kom by my op:
Our age is not a Golden Age.
Arthur C. Danto.
With both agents and publishers hungry for bestsellers, literature will have to end up as a cottage industry.
Anthony Burgess.
Maar ook
David Macey, The Penguin Dictionary of Critical Theory, p.18:
anxiety of influence – Term used by the American literary theorist Harold Bloom (1973, 1994) to describe the young author’s experience of the uncanny when he recognizes the influence of his predecessors in his own work. The shock of recognition is so powerful that the author may despair of being able to write anything at all, or become convinced that he can only reproduce the work of his forebears. A strong poet such as Milton or Blake is able to overwhelm the literary tradition and to subsume it into his own original writing; weak poets are paralysed by the anxiety of influence. Strong literary originality and the ability to subsume tradition are the hallmarks of canonical texts. Bloom’s theory is heavily influenced by Freudian psychoanalysis: the literary tradition is likened to the repressed material in the individual unconscious, and the quasi-Oedipal relations between the generations to a form of transference.
Although certain feminist critics argue, like Showalter (1977), that Bloom’s theory is so reliant upon an Oedipal struggle between fathers and sons that it can scarcely be applied to women’s writing, Gilbert and Gubar contend in their “Madwoman in the Attic” (1979) that it can be modified to explore the way in which woman writers from Jane Austen to Emily Dickinson have always struggled against the image of the ‘woman writer’ produced by male authors and male texts.