cf. Lukács Chovistismus und Dialektik

The gentleman poet Hayley was a generous fellow, but a man of conventional outlook, and, although he was keen to see Blake prosper, he couldn’t help but try to tame the painter’s wild genius. Blake later wrote: ‘Thy Friendship oft has made my heart to ache: Do be my Enemy for Friendship’s sake.’ Anyone curious enough to look up Blake’s illustrations for Hayley’s Ballads Founded on Anecdotes Relating to Animals will note that this particular pachyderm has the feet of a badly upholstered moggy. The artist was either ‘phoning it in’, or he’d never seen an elephant in his life. The difference between the gig work and the portrait is in the quality of attention.

I happen to know that the novel had multiple working titles, including American Skin, ...

It's not that the nobel is just better without these tropes; it's that the novel is about the fact that such tropes are illusory. A certain truism about the reality of novels (i.e., that in their obvious artificiality or autobiography they presuppose a world in which fact and fiction are stable, easily distinguished categories) is missing here, can't be reclaimed. This is not a semiautobiographical novel about a novelist, written by a novelist -- what we now call autofiction -- nor is it purely a work of invention.

(Again Lucy Ives, via T)

ἐοίκασι δὲ γεννῆσαι (born) μὲν ὅλως τὴν ποιητικὴν (poetry) αἰτίαι [5] δύο τινὲς καὶ αὗται φυσικαί (causes, two and natural).

τό τε γὰρ μιμεῖσθαι (imitating) σύμφυτον (co-natural, grown-together) τοῖς ἀνθρώποις (human) ἐκ παίδων (from childhood) ἐστὶ καὶ τούτῳ διαφέρουσι τῶν ἄλλων ζῴων ὅτι μιμητικώτατόν (imitative) ἐστι

καὶ τὰς μαθήσεις (learning) ποιεῖται διὰ μιμήσεως (through imitation) τὰς πρώτας (at first),

καὶ τὸ χαίρειν (taking joy, being well, cf. Charis) τοῖς μιμήμασι πάντας (imitating everything).

σημεῖον δὲ τούτου τὸ συμβαῖνον [10] ἐπὶ τῶν ἔργων: ἃ γὰρ αὐτὰ λυπηρῶς ὁρῶμεν, τούτων τὰς εἰκόνας τὰς μάλιστα ἠκριβωμένας χαίρομεν θεωροῦντες, οἷον θηρίων τε μορφὰς τῶν ἀτιμοτάτων καὶ νεκρῶν. (even the beastly and dead)

αἴτιον δὲ καὶ τούτου, ὅτι μανθάνειν οὐ μόνον τοῖς φιλοσόφοις (not only to philosophers) ἥδιστον (the most pleasurable) ἀλλὰ καὶ τοῖς ἄλλοις ὁμοίως (to others the same), ἀλλ᾽ ἐπὶ βραχὺ [15] κοινωνοῦσιν αὐτοῦ. (share in common)

διὰ γὰρ τοῦτο χαίρουσι τὰς εἰκόνας ὁρῶντες, ὅτι συμβαίνει θεωροῦντας (seeing) μανθάνειν (learning) καὶ συλλογίζεσθαι (figuring out) τί ἕκαστον, οἷον ὅτι οὗτος ἐκεῖνος (fr: "la nature de chaque chose, comme, par exemple, que tel homme est un tel"; en: "what each is, for instance, 'that is so and so.'")...

from fn 2 in lucy ives' introduction to American Genius: A Comedy, titled "realism and illusion" p. viii via T

-y (2)

adjective suffix, "full of or characterized by," from Old English -ig, from Proto-Germanic *-iga- (source also of Dutch, Danish, German -ig, Gothic -egs), from PIE -(i)ko-, adjectival suffix, cognate with elements in Greek -ikos, Latin -icus (see -ic).

Originally added to nouns in Old English; it was used from 13c. with verbs, and by 15c. with other adjectives (for example crispy).

Variant forms in -y for short, common adjectives (vasty, hugy) helped poets keep step with classical feet when the grammatically empty but metrically useful -e dropped off such words in late Middle English. To replace it, verse-writers had adopted to -y forms by Elizabethan times, and often it was done artfully, as in Sackville's "The wide waste places, and the hugy plain." Simple huge plain would have been a metrical balk.

After Coleridge's criticism of the -y forms as archaic artifice, poets gave up stilly (Moore probably was last to get away with it, with "Oft in the Stilly Night"), paly (which Keats and Coleridge himself had used) and the rest. Jespersen ("Modern English Grammar," 1954) also lists bleaky (Dryden), bluey, greeny, and other color words, lanky, plumpy, stouty, and the slang rummy. Vasty survived, he said, only in imitation of Shakespeare; cooly and moisty (Chaucer, hence Spenser) he regarded as fully obsolete. But in a few cases he notes (haughty, dusky) they seem to have supplanted the shorter forms.

etymonline

scatterered

The Peoria speak a dialect of the Miami-Illinois language, a Central Algonquian language in which these two dialects are mutually intelligible.

The name Peoria, also Peouaroua, derives from their autonym, or name for themselves in the Illinois language, peewaareewa (modern pronunciation peewaalia). Originally it meant, "Comes carrying a pack on his back."[4] No native speakers of the Peoria language survive. The Peoria Language was revitalized in August 2022 by a 10-week online course offered by the tribe.[5][6]

Lámpara descomunal, cuyo reflejo civil me va, a moco de candil, chupando el óleo vital, en que he de vencer me fundo tu traidor influjo avieso, velis, nolis, pues para eso hay alcuzas en el mundo. Otra panilla por mi arda, y aunque airada estás, si vivo ocho días más, ¡Ay de Lucia!

Monsteous lamp, whose civil light, as if I were a wick, sucks up my life's oil...

houding

В. В. Маяковский Всё сочиненное Владимиром Маяковским. 1909-1919. — Посв. Лиле. — Вступит. слово автора. — [Петроград]: [ИМО], [1919]. — 283 с.