Four Quartets

work

Eliot's late sequence, which the archive uses less for its argument than for its shape. In dialogue 64 Cameron produces it at the moment Bob is explaining why a chart he calls quadrants keeps having five parts: each of the four quartets is itself in five sections. The effect is to relocate Bob's structure from invention to retrieval, and Bob accepts the relocation while claiming a different medium for it. Start with dialogue 64 for that exchange.

Across the dialogues

Produced as structural evidence rather than poetry — its five-part sections are matched to the fifth quadrant of Bob's chart, making his four-that-is-five a form already achieved in verse

The parallel arrives as a correction of priority — the four-that-is-five is a form literature already worked out, so what Bob has is a medium in which to redo it rather than a discovery.

"Eliot's four quartets, each one has five sections."

Cameron McEwenasserted

Cameron states the terms on which he will credit Bob — the work is disclosure of an available form, which is the same relation he grants McLuhan against Joyce and Lewis elsewhere in the series.

"I'm saying that it's already there, and what you're doing is bringing it out."

Cameron McEwenasserted

The Resonant Interval

Across the dialogues

Produced as structural evidence rather than poetry — its five-part sections are matched to the fifth quadrant of Bob's chart, making his four-that-is-five a form already achieved in verse