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*>>;; and indeed Borges, the author of delicate, lucid, disturbed visions of what used to be an ordered world, has become something like the patron saint of much recent French writing. A character in Borges??s story ??Death and the Compass?? seems even to anticipate a French connection. An amateur detective in the tradition of Holmes and Dupin, confronted with the flat-footed police inspector so familiar in such fiction, Erik L?nnrot dismisses the inspector??s simple view of a murder as ??possible, but not interesting.??You will reply (the great man continues) that reality is under no obl
*>>ition, constantly expelling the painter beyond the present. The instantaneous global diffusion of knowledge about the latest ??trends?? in painting, a diffusion promoted by museum directors, art historians, publishers of art books, art dealers, and the politics of the biennial, has progressively shortened the interval for esthetic response, so that the painter is a victim of the kind of art-history dictated by evangelists of the next. Thus the painter must be in ceaseless revolt against the momentary values that are merely a ??prepared taste.??Rosenberg is a critic passionately devoted to the co
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