“Enter at your own peril, past the bolted doors where impossible things may happen that the world has never seen before.”
This pulsating addictive theme song resonated within as I awaited my one guilty pleasure, my one anointed creative catalyst in an otherwise gruelingly rigorous routine. Dexter’s Lab was intrinsically interesting to my generation; the seemingly original idea of the nuclear family with a twist and a very cat-and-mouse like relationship between the main character, Dexter, and his sister Dee-Dee captivated our oh-so-naïve minds. It always puzzled me how Dexter’s tries to invent in solitude, his efforts at scientific progress were halted by the immaturely creative genius that is Dee-Dee; it was in this deceptively parasitic relationship that I found food for thought: the boy genius immersed himself in the world of science to invent with a certain defined purpose, but the comically blunt sister found a different use, a different definition altogether for his inventions much to the dismay of our short accented protagonist.
Although “blown to smithereens” proved to be the end of this little analogy, their relationship dynamic transcends mere cartoon characters and develops into more of an abstract entity. Goulish interpreted this entity as the relationship between the writer and the reader, and in his essay “Criticism”, the idea of why a writer writes and why a reader reads is addressed in a very unique light. Goulish believes that “Any act of critical thought finds its value through fulfilling one or both of two interrelated purposes: 1) to cause a change 2) to understand how to understand.” (558) Endeavoring into the mind of a critic, Goulish is able to represent what, in essence, any fo...
... middle of paper ...
... very interesting that the word you use to describe this concrete, desolate chemical substance was in fact in meaning completely contradictory: “Plastic (n.): a structure or molded figure; a creative or procreative principle; a solid substance easily molded or shaped,” (Oxford English Dictionary).” (Letter to Roland)
This anomaly, this manifestation of a paradox hiding itself in the subtext of the writer’s subconscious could be explained by nothing more complex then just me overanalyzing the definition of a word, but it is a reflection of the writer’s process, it is what remains after the mental battle every writer goes through when faced with a certain subject; no writer can be completely convinced of the validity of his argument, because then he would not be writing about it. The mere fact that we write about a topic shows our want of a deeper understanding.
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