Dreamcatching or Plagiarism?

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Details here.
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.

Me and Ligotti: https://dflewisreviews.wordpress.com/thomas-ligotti/

PS: more in comment stream below.

13 thoughts on “Dreamcatching or Plagiarism?

  1. 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’.

  2. “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/

  3. 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.”

  4. 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

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