Doesn't it seem a little unfair to base expertise in interpretation of art on knowledge of the life of the artist? It's not to say that personal experience doesn't factor into art or that it's not something that should be considered, but it's hardly the only thing.
Doesn't it seem a little unfair to base expertise in interpretation of art on knowledge of the life of the artist? It's not to say that personal experience doesn't factor into art or that it's not something that should be considered, but it's hardly the only thing.
Anyways. The first thing I thought of when I considered "the other absentee" of Christmas was Satan, which... might be a little obvious, considering, you know, the title and all that jazz, but then she's also "scultpting saints" (which... how would people become saints without something to preach against or others...
Anyways. The first thing I thought of when I considered "the other absentee" of Christmas was Satan, which... might be a little obvious, considering, you know, the title and all that jazz, but then she's also "scultpting saints" (which... how would people become saints without something to preach against or others to martyr them for it?).
You could argue that the garden (with the gray pallor) is a reference to Adam and Eve's fallen paradise. And along the lines of color symbolism, the first stanza doesn't mention any (although everything's portrayed as divinely good rather than bad), the next mentions gray (purgatory? And she's "sitting and scultping"-- she's not as inactive as in the first stanza where it's a still life, but she's still definitely not doing much, which is within the concept of purgatory, yes?), and the final stanza has lots and lots of red (Hell, if I needed to tell you. She's finally both involved and active here, too).
I can't say that I'm sure what I think this means, but... I grew up Catholic and have taken any number of lit courses; it's in my blood to point out religious references, alright? Haha. Anyways... it does seem to be tracing her from being in the background in something divine, to just being present in something neutral (I guess regular people could be said to create saints, too, with their wickenesses and potential to be saved and tendencies to persecution), to finally being front and center in something entirely removed from grace but adored (even though by now she's a bit disparaging of it-- it's not a grand finale but "a mess we've made"). Then they exit the stage. Which would be dying. All in a metaphor for life or showbiz, where as soon as you've "made it" you're disenchanted with the whole thing and just leave?
I dunno. It seems too obvious... but I definitely don't see how the Sufjan connection is anything but an association-based leap.
Considering thelifejurassic seems to know more about the musician and her past experiences... I'd go with that one. =)
Doesn't it seem a little unfair to base expertise in interpretation of art on knowledge of the life of the artist? It's not to say that personal experience doesn't factor into art or that it's not something that should be considered, but it's hardly the only thing.
Doesn't it seem a little unfair to base expertise in interpretation of art on knowledge of the life of the artist? It's not to say that personal experience doesn't factor into art or that it's not something that should be considered, but it's hardly the only thing.
Anyways. The first thing I thought of when I considered "the other absentee" of Christmas was Satan, which... might be a little obvious, considering, you know, the title and all that jazz, but then she's also "scultpting saints" (which... how would people become saints without something to preach against or others...
Anyways. The first thing I thought of when I considered "the other absentee" of Christmas was Satan, which... might be a little obvious, considering, you know, the title and all that jazz, but then she's also "scultpting saints" (which... how would people become saints without something to preach against or others to martyr them for it?).
You could argue that the garden (with the gray pallor) is a reference to Adam and Eve's fallen paradise. And along the lines of color symbolism, the first stanza doesn't mention any (although everything's portrayed as divinely good rather than bad), the next mentions gray (purgatory? And she's "sitting and scultping"-- she's not as inactive as in the first stanza where it's a still life, but she's still definitely not doing much, which is within the concept of purgatory, yes?), and the final stanza has lots and lots of red (Hell, if I needed to tell you. She's finally both involved and active here, too).
I can't say that I'm sure what I think this means, but... I grew up Catholic and have taken any number of lit courses; it's in my blood to point out religious references, alright? Haha. Anyways... it does seem to be tracing her from being in the background in something divine, to just being present in something neutral (I guess regular people could be said to create saints, too, with their wickenesses and potential to be saved and tendencies to persecution), to finally being front and center in something entirely removed from grace but adored (even though by now she's a bit disparaging of it-- it's not a grand finale but "a mess we've made"). Then they exit the stage. Which would be dying. All in a metaphor for life or showbiz, where as soon as you've "made it" you're disenchanted with the whole thing and just leave?
I dunno. It seems too obvious... but I definitely don't see how the Sufjan connection is anything but an association-based leap.