Posts Tagged ‘John Keats’
October 25, 2013 | by Jason Novak
September 24, 2013 | by Sadie Stein
September 27, 2012 | by Sadie Stein
August 2, 2012 | by Maura Kelly
My first date with Luke started at four in the afternoon—and at midnight, we were still going. Sitting on stools at Frank’s Cocktail Lounge (a bar that feels like a holdover from the seventies, right down to the occasional fedora-wearing patron), we were bent over the carefully folded piece of paper Luke had just taken out of his wallet. As he smoothed it out on the bar, I saw the seven poems, in tiny font, that he carried with him at all times—and I braced myself.
This guy wasn’t just so charming and handsome that I’d already trembled once or twice, near him. He was also “haunted by verse.” That was a description an English professor had once applied to me, after I’d run into her while crossing campus one night; drunkenly, I’d begged her to remind me which poet had written, “Let us roll all our strength and all our sweetness up into one ball.” (Andrew Marvell, for the record.)Read More »
March 15, 2012 | by Miranda Popkey
“It is possible,” George Oppen wrote, in early 1962, “to find a metaphor for anything, an analogue: but the image is encountered, not found; it is an account of the poet's perception, the act of perception; it is a test of sincerity, a test of conviction, the rare poetic quality of truthfulness.” “Boy’s Room,” which is about just such a perceptual encounter, and truthful almost to a fault, appears in Oppen’s 1965 collection, This in Which, his second after a silence of more than twenty-five years. Between Discrete Series (1934) and The Materials (1962), Oppen raised a daughter; he worked as a carpenter; he joined, then became disillusioned with, the Communist party; he lived in Mexico; he fought in World War II (not necessarily in that order). What he did not do, for the most part, is write. When he returned to poetry in 1958 it was with a vigor that “Boy’s Room” amply demonstrates. The collection that followed, Of Being Numerous (1968), would win him the Pulitzer Prize. He died in 1984, and though the details of his personal life are salacious enough—an affluent childhood, his mother's suicide; a car accident in which his passenger was killed, a first date that led to his future wife’s expulsion from college (they stayed out all night and she missed her curfew)—he is largely forgotten. It’s a real pity. “No ideas but in things” is a line from a William Carlos Williams poem, but Oppen’s work fits the bill as well as Williams’s does.
I can remember the first time I read “Boy’s Room” because of the physical sensation that accompanied it: I felt like I was falling. The drop occurs in the gulf between the first and second stanza: “A friend saw the rooms / of Keats and Shelley / At the lake, and saw ‘they were just / Boy’s rooms’ and was moved // By that.” I, too, was moved by that.
Of course, the friend is right in a purely literal sense: Keats died at twenty-five, Shelley at twenty-nine. Confronted with their actual rooms, there's a sense of surprise and sympathetic feeling: these towering figures of romantic poetry were not only real people, they were youngsters who had not quite outgrown their adolescence. But from the discrete thing—the rooms of Keats and Shelley—comes the broader idea: “indeed a poet’s room / Is a boy’s room.” Such a sheepish admission for the poet to make, to indict himself. Read More »