A fearless faith in fiction — Employing, since 2008, a Kantian or Jungian sensibility and an ‘intentional fallacy’ consciousness — Various passions of the reading moment — Walter de la Mare, ELizabeth BOWen, ROBERT aiCKMAN and many others old and new — Please click my name below for this site’s navigation and my backstory as intermittent photographer, writer, editor, publisher & reviewer.
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I say there’s a world of difference between (1) allusion in, say, Eliot’s The Waste Land or Berio’s Sinfonia, and (2) the uncredited swipes as I understand are going on here.
I think, generally speaking, you can sense works that are a homage or a multi-influence collage or a pastiche or a lampoon or a multi-allusionary exercise as the normal rough and tumble of art creation, appreciated as examples of the synchronised shards of random truth and fiction or some Jungian unconscious.
Rarely, though, one can sense a work changing into another gear, where it focuses too heavily or where a line is crossed, even if done inadvertently. As Dr Locrian and Lovecraftezine have described it, this seems to apply to the case in point, especially when, in the aftermath, fences could have been mended so easily.
A few years ago I thought the TV series ‘Life on Mars’ crossed that line vis-a-vis Christopher Priest’s earlier novel ‘The Affirmation’.
“And this book which I have always had in deep soak, when will it be finished? When I stop breathing? But the idea behind the furtive activity has always been that ideal book – the titanic do-it-yourself kit, le roman appareil. After all, why not a book full of spare parts of other books, of characters left over from other lives, all circulating in each other’s bloodstreams – yet all fresh, nothing second-hand, twice chewed, twice breathed. Such a book might ask you if life is worth breathing, if death is worth looming . . . Be ye members of one another. I hear a voice say, ‘What disease did the poor fellow get?’ ‘Death!’ ‘Death? Why didn’t he say so? Death is nothing if one takes it in time.’” Lawrence Durrell – from ‘Constance’, the third book of ‘The Avignon Quintet’.
As Dr Locrian said, whether Plagiarism or not, it was wrong. Even with the intentional fallacy, there are human rights to consider. As I said in my Perpetual Autumn article on 2 February even before I had hardly heard of True Detective:
“Meanwhile, I suggest that any writers who propound bleakly philosophical anti-natalism and so forth deserve name recognition for their writing where such recognition is deliberately sought rather than ideally or logically subsumed by the nihilistic subject-matter. Financial reward for such writers (as a symbol of such recognition or simply as a human pragmatic need) may also be a deserved consolation to appease their Death Anxiety that often remains otherwise unconsoled by the sublimated or distractive creativity of hard work employed in writing about such matters. Perpetual Autumn indeed, never Winter’s Death. Infinite Fall.”
Some of my favourite pieces of music are what are called Variations on a Theme by (another always named composer). Like Beethoven’s upon Diabelli. Well, there are hundreds of them, and the source composer is always named in the title itself, not just as an afterthought.
“Copycat suicides Kurt Cobain each a new you?
Retrocausal emptying what you just wrote of people visiting, your revenge – language you do not own?
With my gestalt real-time reviewing I often have wondered whether perceived or worried-about possible plagiarism is more preternatural than intentional, more so even than accidental? https://dflewisreviews.wordpress.com/2014/08/06/dreamcatching-or-plagiarism/ (please also see the comments attached to that old postinternet blogpost).”
The Des Lewis Gestalt Real-Time Reviews 
I think, generally speaking, you can sense works that are a homage or a multi-influence collage or a pastiche or a lampoon or a multi-allusionary exercise as the normal rough and tumble of art creation, appreciated as examples of the synchronised shards of random truth and fiction or some Jungian unconscious.
Rarely, though, one can sense a work changing into another gear, where it focuses too heavily or where a line is crossed, even if done inadvertently. As Dr Locrian and Lovecraftezine have described it, this seems to apply to the case in point, especially when, in the aftermath, fences could have been mended so easily.
A few years ago I thought the TV series ‘Life on Mars’ crossed that line vis-a-vis Christopher Priest’s earlier novel ‘The Affirmation’.
TLO’s initial reaction to yesterday’s refutation by Pizzolatto and HBO: http://www.ligotti.net/showpost.php?p=104525&postcount=90
“But not nearly enough has been made of the loans for my taste,…”
Ann Sterzinger
Or uncredited swipes as I have put it.
Card swipes.
Cf: Olan or Loan – in METAPHYSICA MORUM
http://www.ligotti.net/showpost.php?p=104621&postcount=142
An earlier example of the personal sort of high bar I require as a test before accusing anyone of plagiarism: here.
“And this book which I have always had in deep soak, when will it be finished? When I stop breathing? But the idea behind the furtive activity has always been that ideal book – the titanic do-it-yourself kit, le roman appareil. After all, why not a book full of spare parts of other books, of characters left over from other lives, all circulating in each other’s bloodstreams – yet all fresh, nothing second-hand, twice chewed, twice breathed. Such a book might ask you if life is worth breathing, if death is worth looming . . . Be ye members of one another. I hear a voice say, ‘What disease did the poor fellow get?’ ‘Death!’ ‘Death? Why didn’t he say so? Death is nothing if one takes it in time.’” Lawrence Durrell – from ‘Constance’, the third book of ‘The Avignon Quintet’.
More select quotes from the Avignon Quincunx: http://nullimmortalis.wordpress.com/2010/12/31/mr-cans-favourite-passages/
http://www.ligotti.net/showpost.php?p=104707&postcount=165
As Dr Locrian said, whether Plagiarism or not, it was wrong. Even with the intentional fallacy, there are human rights to consider. As I said in my Perpetual Autumn article on 2 February even before I had hardly heard of True Detective:
“Meanwhile, I suggest that any writers who propound bleakly philosophical anti-natalism and so forth deserve name recognition for their writing where such recognition is deliberately sought rather than ideally or logically subsumed by the nihilistic subject-matter. Financial reward for such writers (as a symbol of such recognition or simply as a human pragmatic need) may also be a deserved consolation to appease their Death Anxiety that often remains otherwise unconsoled by the sublimated or distractive creativity of hard work employed in writing about such matters. Perpetual Autumn indeed, never Winter’s Death. Infinite Fall.”
http://www.reddit.com/r/TrueDetective/comments/2d8qi7/how_can_plagiarism_be_denied_cohle_original/
http://www.ligotti.net/showpost.php?p=104830&postcount=191 Significant post.
Jeff VanderMeer on Ligotti: http://www.vulture.com/2014/08/thomas-ligotti-true-detective-guide.html
Some of my favourite pieces of music are what are called Variations on a Theme by (another always named composer). Like Beethoven’s upon Diabelli. Well, there are hundreds of them, and the source composer is always named in the title itself, not just as an afterthought.
TRUE DETECTIVE: variations on themes by Ligotti
http://www.ligotti.net/showpost.php?p=104992&postcount=207
“Copycat suicides Kurt Cobain each a new you?
Retrocausal emptying what you just wrote of people visiting, your revenge – language you do not own?
With my gestalt real-time reviewing I often have wondered whether perceived or worried-about possible plagiarism is more preternatural than intentional, more so even than accidental? https://dflewisreviews.wordpress.com/2014/08/06/dreamcatching-or-plagiarism/ (please also see the comments attached to that old postinternet blogpost).”
From here: https://dflewisreviews.wordpress.com/2018/02/28/i-wish-i-was-like-you-s-p-miskowski/#comment-11900