This music is to the average European ear more than diabolical, this being to a large extent due to the differences in the tones, semi-tones, and intervals of the scale, but personally, having got accustomed to their tunes, I rather like its weirdness and originality. When once it is understood it can be appreciated; but I must admit that the first time one hears a Corean concert, an inclination arises to murder the musicians and destroy their instruments.
Jhnnes gos on to tlk about ART as a “zone which both hrts and is hrt” and how, qoting his wife Jylle McSney, “snd is a knd of violence” and, fnally, sying “I am invested in this violent aspect of art: it fascinates and hrrfies me.”
So, nyways, a few hrs fter I read Görssn’s engagng Ptry Fdation pst I found myself thking again abut snd, vlence, snd-vlence, and other thngs as I lay in a rlly hot bth reaing A.D. Jmson’s xcllent “Amazing Adult Fantasy”:
You’ll be the guy who finally knifed up Indian Jones. Some’ll love you and some’ll hate you. Some’ll never believe it and never give in. Some’ll send flowers. Some’ll look for and find the younger Indian Jones.
The casl skm-reader will glde rte ovr and thrugh the repted usages of “some’ll,” just skmmng out mening, but for me the lok, fel and snd of that strngeness on the pge, and in the ar, too, tk me abck—and I fond myslf, like Johnnes, facinatd and horifid.
And, a prt of me wnted to ris up out of the bthwter “to mrdr the musicians and destoy their instrments.
The writer (in this case A.D.) certinly does weld a pwer and a vlence that is excitng, surpising, horfying and fscnating. Part of me (and I’m exagerating here a bt, like I was about the mrder and destuction) wanted to thow up and I don’t know, relly, what, if any, sort of vilence (plasrable, scry, fascnatng, orrifying, etc) that A.D. enured, nurured or nfliced upon himelf in the writn of his stries but I can imgine him crating, cldly, gleflly, pasnately, in what Görsson calls, via Aase erg I think, a “deformtion zne.”
And this all makes me think of athor as serl kller, mrderer and the adience as vctim. And, of crse, the victim (or tended victim) will sbmit to this and/or rbl.
(note, too, that the repted uses of “some’ll,” whch are like a gn pushed into yr side, or bck, or like a kife at your thoat, come rght after “the guy who finally knife up Indian Jones.” And nte too that the athor here aready knifd up Indian(a) Jones by slcing out the “a.”)
This is soething I’m prbably going to think o more—and flsh and knif out frth in psts don the rod—but ju nted, ere and ow, to et the sd-viole strted.