by Joyelle McSweeney on Jan.13, 2011
The Pastoral, like the occult, has always been a fraud, a counterfeit, an invention, an anachronism. However, as with the occult, and as with Art itself, the fraudulence of the pastoral is in direct proportion to its uncanny powers. A double of the urban, but dressed in artful, nearly ceremental rags and pelts, the Pastoral is outside the temporal and geographical sureties of the court, the urbs, the imperium itself, but also, implicitly, adjacent to all of these, entailing an ambiguous degree of access, of cross-contamination. (The Pastoral, after all, is the space into which the courtiers must flee in the time of plague, carrying the plague of narrative with them.)Moreover, the anachronistic state of the Pastoral is itself convulsive and self-contaminating, accessing both a Golden Age, a prehistory somehow concurrent with, even adjacent to, the present tense, and a sumptuous and presumptive afterlife, partaking of Elysian geography, weather, and pastimes.
A Velvet Underground.
Rather than maintaining its didactic or allegorical distance, the membrane separating the Pastoral from the Urban, the past from the future, the living from the dead, may and must supersaturated, convulsed, and crossed. This membrane is Anachronism itself.
Another name for it is Death, or Media.