Posts Tagged ‘Art of Poetry’
October 12, 2015 | by Dan Piepenbring
“I have never been part of the London literary scene,” Christopher Logue said in his 1993 Art of Poetry interview:
My time has been passed with painters, antique dealers, musicians, booksellers, journalists, actors, and film people. I find it natural to collaborate with others on such things as posters, songs, films, shows. This is unusual in literary London.
This collaborative spirit led him to reproduce his poems on all kinds of unlikely surfaces: mugs, beermats, T-shirts, mirrors, Tube station walls, Lake District concrete, and the silk lining of at least one gown. But Logue, who died in 2011, found his biggest success with his poster poems, a form he’s said to have invented. Read More »
July 9, 2015 | by Jeffery Gleaves
James Tate, who wrote that the main challenge of poetry “is always to find the ultimate in the ordinary horseshit,” died yesterday in Massachusetts at age seventy-one. Winner of the Pulitzer Prize, the National Book Award, and the William Carlos Williams Award, Tate’s poems were “always concerned to tell us that beneath the busyness and loneliness of our daily lives, there remains in us the possibility for peace, happiness and real human connection,” wrote Adam Kirsch in the New York Times.
Tate was born in Missouri but lived in Amherst, Massachusetts, since 1971. “I’ve imagined that every character and every single event takes place in this town, Amherst,” he once confessed. But John Ashbery once opined that Tate is a “poet of possibilities, of morph, of surprising consequences, lovely or disastrous, and these phenomena exist everywhere.”
His poetry is often described as absurdist, and indeed the speakers in his poems come across as bewildered narrators who are as inquisitive as they are clueless—which is all part of their charm. His poetry has also been described as comic, ironic, hopeful, lonely, and surreal; “I love my funny poems,” he said, “but I’d rather break your heart. And if I can do both in the same poem, that’s the best.”Read More »
November 19, 2014 | by Dan Piepenbring
There’s no Writers at Work interview with Allen Tate—who was born today in 1899—but his name seems to pop up in nearly everyone else’s. By my count, he has cameos in nineteen of our interviews; he shuffles onstage to offer an apercu or to help someone or to drink or to be carried down a flight of stairs. And then he leaves.
Tate ran in many circles, in part because his teaching allowed him to move around so much. At one point or another he crossed paths with an astonishing number of his fellow writers: Robert Penn Warren and Robert Lowell, most prominently, but also Randall Jarrell, John Gould Fletcher, John Crowe Ransom, John Berryman, and Andrew Lytle. His walk-ons in The Paris Review interviews testify to his influence not just as a poet but as a friend. If you read these mentions of him in succession, as a kind of patchwork oral history, you get a strangely gratifying secondhand sense of the man, as if someone had painted his portrait based only on a description. Let’s give it a try— Read More »
June 12, 2014 | by Dan Piepenbring
Congratulations to Charles Wright, who was announced today as America’s next poet laureate. James Billington, the librarian of Congress, said that Wright’s poems have “an infinite array of beautiful words reflected with constant freshness” and commended his “combination of literary elegance and genuine humility—it’s just the rare alchemy of a great poet.”
Wright has received, as the Times notes, “just about every other honor in the poetry world, including the Pulitzer Prize, the National Book Award, the Bollingen Prize and the Ruth Lilly Poetry Prize.”
There seem to me to be certain absolutes in whatever field of endeavor one is in. In business and banking they may be availability and convertibility, security and safekeeping, minimal loss and steady, incremental accession. I don’t think it’s that way in poetry, though such values will get you to temporary high places. Brilliance is what you reach for, language that has a life of its own, seriousness of subject matter beyond the momentary gasp and glitter, a willingness to take on what’s difficult and beautiful, a willingness to be different and abstract, a willingness to put on the hair shirt and go into the desert and sit still, and listen hard, and write it down, and tell no one.
We’re happy to have published six of Wright’s poems in our Summer 2008 issue. Here’s one of them, “In Memory of the Natural World”:
Four ducks on the pond tonight, the fifth one MIA.
A fly, a smaller than normal fly,
Is mapping his way through sun-strikes across my window.
Behind him, as though at attention,
the pine trees hold their breaths.
The fly’s real, the trees are real,
And the ducks.
But the glass is artificial, and it’s on fire.
We wish Wright all the best in his new role.
May 7, 2014 | by Dan Piepenbring
Today brought welcome news that the New York Public Library has abandoned its plan to “renovate” (i.e., reduce and/or ruin) its research flagship at Bryant Park, on Forty-Second Street. The renovation would have meant removing the stacks beneath the main reading room, thus displacing an untold number of books and research materials; the plan met with derision among scholars and authors, and a piece in the Times last year by Michael Kimmelman made an elegant case against it.
And wouldn’t you know it—today is also Archibald MacLeish’s birthday. His 1974 Art of Poetry interview is great reading, but given the news of the day, and given his role as the Librarian of Congress—a position he held from 1939 to 1944—it seems fitting to peruse his 1940 essay, “The Librarian and the Democratic Process,” which addresses … well, not many of the same issues at stake in the NYPL’s renovation controversy. It was 1940; the world was on the brink of war, and digitization was not a going concern for librarians. But the piece does find MacLeish asking, in a sweeping, stentorian tone: What is a librarian supposed to do, anyway? Read More »
November 13, 2012 | by Sadie Stein
“Being alive is so extraordinary I don’t know why people limit it to riches, pride, security—all of those things life is built on. People miss so much because they want money and comfort and pride, a house and a job to pay for the house. And they have to get a car. You can’t see anything from a car. It’s moving too fast. People take vacations. That’s their reward—the vacation. Why not the life?” —The Art of Poetry No. 91