The poet as critic …

… T. S. Eliot’s animus by Adam Kirsch | The New Criterion. (Hat tip, Dave Lull.)

The poet-critic has been an institution in English literature because usually only an artist has the stubborn animus, the conviction that art should be one way rather than another, that makes for interesting criticism. To write something new is to imply that the writing which already exists is insufficient. Of course, this can never be demonstrably true: there is always already more than enough literature to occupy any reader for a lifetime. Only an artist’s egotism, his certainty that he has something new to offer that the world should not be without, gives him the fruitfully skewed perspective on literature required to see it as deficient. Harold Bloom’s theory of “the anxiety of influence” gave formal statement to this agonistic element in all artistic ambition. “To imagine is to misinterpret,” Bloom writes, which means, among other things, to misinterpret all existing poetry to its own detriment in order to make room for something new