Posts Tagged ‘poet’
July 22, 2016 | by Alex Dueben
Morgan Parker has a long résumé—she teaches and edits—that somehow hasn’t precluded a prolific career as a poet. Her first collection, Other People’s Comfort Keeps Me Up at Night, came last year; her second, There Are More Beautiful Things Than Beyoncé, is due out in 2017.
A few months ago, Parker’s poem “Hottentot Venus” appeared in the Spring issue of The Paris Review. Her use of famous names and long, playful titles (“Ryan Gosling Wearing a T-shirt of Macaulay Culkin Wearing a T-Shirt of Ryan Gosling Wearing a T-Shirt of Macaulay Culkin”) suggests that she’s light of heart—but she is, as one reviewer put it,“as set on understanding the world as on changing it.” Race and femininism are central to her work, which explores ways to look at the present through the past, to examine ordinary life through pop culture, and to consider the events of her own life. We spoke recently about the joys of lengthy titles, how her many jobs intersect, and the process of crafting a personal mythology. Read More »
December 3, 2012 | by Sadie Stein
March 2, 2011 | by Kate Waldman
Adrienne Rich needs no introduction. One of the twentieth century’s most exhaustively celebrated poets and essayists, she counts among her many honors a National Book Award, a Book Critics Circle Award, and the Lannan Lifetime Achievement Award. Robert Hass has ascribed to her work the qualities of salt and darkness, praising its “relentless need to confront difficulty.” But Rich’s latest collection, Tonight No Poetry Will Serve, ranges from dismay to joy, the outraged to the erotic. Over e-mail, Rich shared her thoughts on poetry and power, the search for a more nuanced wartime aesthetic, and the meaning of the “woman citizen.”
Let’s start with the title, Tonight No Poetry Will Serve.
The book has an epigraph from Webster’s Dictionary: definitions of the verb “to serve.” It’s an interesting range of meanings, from the idea of obedient servitude to the authoritative (from law, the military, a prison sentence), to the meeting of another’s needs, to being of use. The title poem begins with an erotic moment registered in a world of torture and violence. It turns, midway, from the sensual and “poetic” to an official grammar, parsing violent policies as you might diagram a sentence in a classroom.
The poem was inflected, you could say, by interviews I was hearing on Amy Goodman’s program, Democracy Now!—about Guantánamo, waterboarding, official U.S. denials of torture, the “renditioning” of presumed terrorists to countries where they would inevitably be tortured. The line “Tonight I think no poetry will serve” suggests that no poetry can serve to mitigate such acts, they nullify language itself. One begins to write of the sensual body, but other bodies “elsewhere” are terribly present.
February 23, 2011 | by Jonathan Gharraie
“So you know Italian?”
I suddenly experience an obscure and unwelcome pang of solidarity with Christina Aguilera.
“Not very well.”
I look down at my shoes. Perhaps they will help.
“Or at all.”
But, I want to add, I do know Eugenio Montale. Or, at least, I’ve read him in translation. This matters because I’m at the handsomely furnished apartment of Professor Riccardo Viale, the Director of the Italian Cultural Institute of New York, where a distinguished crowd of diplomats, writers, and journalists have assembled for a dinner to honor Montale. The occasion is a two-day celebration of the last century’s greatest Italian poet and a Nobel Laureate, which itself forms part of a broader program of events devised by the American Academy in Rome to mark the one hundred and fiftieth anniversary of the unification of Italy.
The above lines of dialogue are repeated a number of times over the course of the evening, but nobody seems to mind my genial ignorance. I may be stoutly and unheroically monoglot, but I don’t share the cultural introversion of my compatriot Kingsley Amis. I’m here to learn, which is fortunate because the room is full of enthusiasts and newcomers alike. Burrowing into a blond hill of steaming polenta, I chat with a business reporter for Corriere della Sera, the newspaper to which Montale contributed reviews of books and opera productions. Meanwhile, over a glass of wine, the playwright John Guare explains to me how he has only recently come to Montale but is determined to explore his work in more depth.
Fortunately for us, these events are also about translation and, more particularly, about how one of the principle gifts that Italy has bestowed upon the world came to be unwrapped. We have all just attended a busy recital at the nearby Metropolitan Club, where the actor Fausto Lombardi read from a selection of Montale’s lyrics, while Farrar, Straus and Giroux publisher Jonathan Galassi and poet Charles Wright delivered their translations, and poet Rosanna Warren introduced us to those of William Arrowsmith. To emphasize his appeal to American poets and readers, three different versions of Montale’s most famous poem, “The Eel,” were read, but out of a collegial spirit of shared excitement rather than any sense of rivalry.
December 2, 2010 | by Dan Chiasson
This is the second installment of Chiasson’s culture diary. Click here to read part 1.
7:00 A.M. I have an e-mail from a guy I met last summer in Paris, Thierry Corcelle, of the incomparable Librarie Thierry Corcelle, 29 rue de Conde, right near the Luxembourg Garden. Thierry has a new catalogue; I look through it on my computer, marveling at it. I could look at these things forever. What Thierry sells, essentially, are Joseph Cornell boxes that don’t know they are Joseph Cornell boxes: old magic sets, wooden puzzles, dioramas, circus sets, toy soldiers, tarot cards ... I went into serious debt this summer buying the following items:
12:00 P.M. I am actively scouting ideas for poems. I browse around in Robert Pogue Harrison’s great study of burial, The Dominion of the Dead. Harrison talks about a Jules Verne novel (From the Earth to the Moon) in which, one of the astronaut’s dogs dies on a space mission. They try to expel her into space, but she just bobs alongside them. I have to read that story.
8:00 P.M. My wife and I fire up the Dick Cavett. First we watch his interview with Orson Welles. Welles is playful, clearly adores Cavett, funny, totally of this planet in a way that I miss, later, when we watch the interview with Alfred Hitchcock, who is all “Hitchcock” persona. The Welles interview sets the agenda for the rest of the week. Tomorrow night I have to travel, but Thursday, it will be a double bill of The Lady from Shanghai and The Stranger.
December 1, 2010 | by Dan Chiasson
6:15 A.M. Our children wake us up. Nobody wants anything read to them this morning. They are involved in some kind of acrimonious negotiation involving Lego heads (“That’s my head!” “It’s MY head!” “No, mine!” et cetera) so I go into the next room and start thinking about a class I am guest teaching today at BU. I’ve been reading (and writing) father-son poems, and I think, Why not just tell the students what’s on my mind: Sir Walter Raleigh’s poem for his son, “Three Things There Be.” The poem comes in several variants; I print them out and look at a brief discussion of the variants as well as the provocative “spoiled riddle” poems (poems that act like riddles but give their solutions away) on Slate, by Robert Pinsky.
I go to the Times website, and there is (fortuitously) this article on metaphor and the brain. I skim it for something I can say to the class. Neuroscience is very keen on poets and poetry these days: It turns out that when you call someone a cockroach, you activate the same part of your brain that can recall the picture of an actual cockroach
8:30 A.M. I head into Boston. It’s an hour drive this time of day. I get a four-shot latte at Karma Coffee, Route 20 in Sudbury (do yourself a favor). I am listening a lot to the Byrds’s Sweetheart of the Rodeo these days, especially “One Hundred Years from Now.” I have a problem that technology has solved. When I like a song, I listen to it over and over for weeks at a time. You used to have to keep rewinding the tape, and the tape would snap or come unraveled. Now, with iPods, it’s no problem.