It is silly, absurd, stupid to the highest degree, to pretend that art will remain indifferent to the convulsions of our epoch. The events are prepared by people, they are made by people, they fall upon people and change these people. Art, directly or indirectly, affects the lives of the people who make or experience the events. This refers to all art, to the grandest, as well as to the most intimate.
Ordinary domestic life needs its bliss points, those moments of transcendence throughout the day – that just-behind-the-eyelids sense of quivering possibility that at any moment the supermarket aisle might explode into candy-colored light. The hooks promise that pleasure.
The Song Machine
since feeling is first
who pays any attention
to the syntax of things
As we are encouraged to cry, or smile, or sigh, or yearn along with the poet, so we are brought out of our individual experience and pressed into a socializing act of shared emotion. Lyrics, then, can have a kind of emotional-political influence, whereby they seek to effect change by appealing to the humanizing capacity of feelings and sentiments
Rhian Williams, The Poetry Handbook
It is often the physical, material aspects of language (certain combinations of letters, certain sounds-regardless of the meaning of words in which they occur) that signals the presence of a genotext.
The geno-song is the singing and the speaking voice, the space where significations germinate ‘from within language and in its very materiality’; it forms a signifying play having nothing to do with communication, representation (of feelings), expression; it is that apex (or that depth) of production where the melody really works at the language-not at what it says, but the voluptuousness of its sounds-signifiers