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Monday, January 23, 2012

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One of the paradoxes of art is the uneasy legacy of success. As soon as a work is labelled a "classic", it becomes curiously invisible: it transforms into a monument, cobwebbed by all the extraneous things its success now symbolises, and the energies that made it a success in the first place are polished away by the pieties that must now attend it. Summer of the Seventeenth Doll is a good example

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