Literary Parody, and Visual Caricature
Literary parody presupposes a) that every authentic writer has a unique perspective on life and b) that his literary style accurately expresses that perspective. The trick of the parodist is to take the unique style of the author, how he expresses his unique vision, and make it express utter banalities; what the parody expresses could be said by anyone. The effect is of a reversal in the relation between the author and his style. Instead of the style being the creation of the man, the man becomes the puppet of the style. It is only possible to caricature an author one admires because, in the case of an author one dislikes, his own work will seem a better parody than one could hope to write oneself.
As we get older we do not get any younger.
Seasons return, and to-day I am fifty-five,
And this time last year I was fifty-four,
And this time next year I shall be sixty-two.
And I cannot say I should like (to speak for myself)
To see my time over again-if you can call it time:
Fidgeting uneasily under a draughty stair,
Or counting sleepless nights in the crowded tube.(HENRY REED, Chard Whitlow.)
Every face is a present witness to the fact that its owner has a past behind him which might have been otherwise, and a future ahead of him in which some possibilities are more probable than others. To "read" a face means to guess what it might have been and what it still may become. Children, for whom most future possibilities are equally probable, the dead for whom all possibilities have been reduced to zero, and animals who have only one possibility to realize and realize it completely, do not have faces which can be read, but wear inscrutable masks. A caricature of a face admits that its owner has had a past, but denies that he has a future. He has created his features up to a certain point, but now they have taken charge of him so that he can never change; he has become a single possibility completely realized. That is why, when we go to the zoo, the faces of the animals remind one of caricatures of human beings. A caricature doesn't need to be read; it has no future.
We enjoy caricatures of our friends because we do not want to think of their changing, above all, of their dying; we enjoy caricatures of our enemies because we do not want to consider the possibility of their having a change of heart so that we would have to forgive them.[pp. 382-383]
1506. MacGregor-Hastie, Roy. "The Poet in His Workshop: No 4—The Great Unclassified." Arena 48 (March 1958): 10-13 [12-13].MacGregor-Hastie shows great respect for Reed in this series on the state of poetry (but little regard for the poets of the 'Thirties).