Texas monsters : two novellas

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1976

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The transmogrification of experience from creative impulse to artistic expression has long bewildered critics, analysts, and often the artist himself. What prompts the artist to the level of subconsciousness necessary for the most effective assimilation and subsequent regurgitation of aesthetic experience? Through what avenues can the creative process be approached? What spawned Norman Mailer? These are the recurrent questions, recurrent because they are next to impossible to answer with much more authority than speculation. The critic or analyst, being an outside observer, can only examine the end product and then conjecture sometimes-ingenious theories concerning the artist's means of production. And the artist, tangled in the throes of creativity, is little more than a transmitter, relaying thought patterns, so that he can only afterwards hypothesize as to why he did this or that, and what inspired this or that idea. [...]

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