Posts Tagged ‘poetry’
June 16, 2014 | by Dan Piepenbring
- “The dirty secret of poetry is that it is loved by some, loathed by many, and bought by almost no one.” (That may be dirty, but is it a secret?)
- Everyone can rattle off the names of alcoholic male writers—it’s time to give the women their due. “Jean Rhys was briefly in Holloway prison for assault; Elizabeth Bishop more than once drank eau de cologne, having exhausted the possibilities of the liquor cabinet. But are their reasons for drinking different? And how about society’s responses, particularly in the lubricated, tipsy twentieth century; the golden age, if one can call it that, of alcohol and the writer?”
- Among the artists to have illustrated international editions of The Hobbit over the years: Tove Jansson, Maurice Sendak, and Tolkien himself.
- No one can explain the success of “A Dark Room,” a best-selling game composed of words and not much else—harking back to the earliest computer games of the seventies. “These language games draw on a tradition of using language patterns as a form of play that precedes computers by thousands of years, something to which more recent video games remain indebted.”
- Look to 1984—the year, not the novel—for a curious episode from the annals of bioterrorism: “In rural Oregon, a small religious sect led by an Indian mystic was busy organizing a massive voter-fraud campaign that nearly enabled it to take over an entire county … The Rajneeshees would try to depress turnout among regular voters by poisoning thousands of residents with Salmonella.”
- Journalists reporting from more than ninety countries are collaborating on a new project called Deca: “Once a month, Deca publishes a nonfiction story about the world. Somewhere between a long article and a short book, each piece is written by one member, edited by another, and approved by the rest.”
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.
June 11, 2014 | by Nicole Rudick
Toward the end of college and for several years after, I kept two postcard photographs taped above my desk: one of Anaïs Nin, the other of Frank O’Hara—the mother and father of my literary interests at the time. Nin was a gateway for me into feminist writing and into thinking about creativity and the self. My love for O’Hara, on the other hand, was ecstatic. I was infatuated—and still am—with the conversational tone of his poetry, the ease with which he moves from Russian novels to bad movies, Robert Frost to Busby Berkeley, Bayreuth to Hackensack; his poems are like letters to a friend, and when I read them, I am that friend.
As collections go, none brings this quality to the fore more than the thirty-seven Lunch Poems, published in 1964 by City Lights. It is number nineteen in their Pocket Poets Series, an apt category for poems that O’Hara wrote during hour-long lunch breaks from the Museum of Modern Art in New York, where he was a curator. He roved through midtown, recording the “noisy splintered glare of a Manhattan noon” as well as his “misunderstandings of the eternal questions of life, co-existence and depth,” as O’Hara himself described the volume—“while never forgetting to eat Lunch his favorite meal.” Read More »
June 10, 2014 | by Dan Piepenbring
The poet Susan Howe is seventy-seven today. A few years ago, she and the musician David Grubbs collaborated on “Frolic Architecture,” a series of multidisciplinary performances that sprang from a book of her collage poems by the same name. Harvard has posted a video of the performance, which is quietly, insistently disruptive. As it progresses, prerecorded shards of Howe’s voice seem to fall into her live voice, and Grubbs fills the space with incidental sounds: insect chirps, gravel and snow and leaves variously underfoot. The performance seems at once to take on weight and ascend into the ether.
Howe remarked on the collage, and the process of recording it, in her 2012 Art of Poetry interview:
I am an Americanist. There’s something that we do, a Romantic, utopian ideal of poetry as revelation at the same instant it’s a fall into fracture and trespass. Frolic Architecture cuts itself to bits. It could be that because I am a woman, bullets are more like blanks. What fuels the poems in that collection is the sense of epic breaking into shards.
I’ve heard the recording of your performance of Frolic, and you actually speak—sound out—its fragments and phonemes, those shards. You treat your work as a score.
Collaborating with the musician-composer David Grubbs has brought vividly home to me how acoustic a seemingly collaged and visual work can be. Several years ago our first collaboration was for a performance at the Fondation Cartier in Paris, and was based around an early poem of mine called “Thorow.” We collaborated again to produce Souls of the Labadie Tract. The work I have done with David has influenced the course of my later poetry by showing me a range of contemporary music with which I was unfamiliar. It also restored my earlier interest in Charles Ives. I love the way Ives’s musical use of quotation throws connectives to the winds. His work is Romantic and iconoclastic at once.
And in the journal Lana Turner, Ben Lerner wrote with typical acuity about the performance:
I assumed Grubbs had digitally manipulated Howe’s voice in order to mimic the fragmentation of the collages. And Grubbs did often and artfully alter her voice, but it turns out that many of the sounds I thought were digital slivers weren’t. It simply did not occur to me that Howe would be capable of reading such diverse phonemes and even smaller linguistic particles in real time with such precision. But she is: I have never heard a person pronounce “nt” or “rl,” for instance, so exactly. Howe can render even the most distressed text acoustic … Howe’s recorded voice—sometimes digitally cut up, sometimes left alone—alternated or overlapped with the live performance, and Grubbs had made sure that there was little or no perceptible sonic difference between what was digital and what was happening before us; when I shut my eyes, I couldn’t tell. This blurring of the boundary between the live and the recorded was a deft way to indicate how Howe’s poems are at once originals and remnants.
June 2, 2014 | by Dan Piepenbring
We’re delighted to announce that two of our contributors have won Pushcart Prizes: Ottessa Moshfegh, for “The Weirdos,” a story from issue 206; and Susan Stewart for her poem “Pine,” from issue 207. Both pieces are available online, and both will appear this November in Pushcart Prize XXXIX: Best of the Small Presses, an anthology of this year’s winning writing.
Congratulations to Ottessa and Susan!
June 2, 2014 | by Dan Piepenbring
- Envisioning the brick-and-mortar bookstores of tomorrow: “Wide steps double as seating and lead down to a bar and a stage, where a writer performs—‘authors will become more like rock stars’—or a ‘book wizard’ explains the craft of making books. The book you make might be one by the writer on stage, something you’ve written yourself, or any other text the robots conjure up.”
- “I think poetry has really rather connived at its own irrelevance and that shouldn’t happen, because it’s the most delightful thing … We have lost the sense that poetry sits halfway between prose and music—that you can’t expect to read it like a novel. We are quite used to downloading an album and listening to certain tracks … poetry needs to be consumed in that way.”
- On Tolkien’s 1926 translation of Beowulf, which was finally published last month: “The literary landscape has changed since then in a way that Tolkien would have neither expected nor accepted: he now towers in fame over Beowulf. Last year, Penguin repackaged its Michael Alexander translation as one of five ‘classic [stories] that inspired J R R Tolkien’s The Hobbit.’ but far more people will read the book for Tolkien’s sake than for Beowulf’s.”
- “Though their obsolescence has been prophesied at various points, neighborhoods remain a vital—perhaps the most vital—way of thinking about the modern city.”
- A 1959 promotional comic touts the glories of atomic energy through Reddy Kilowatt, everyone’s favorite grinningly electric asexual mascot: “I’m a real, live wire and I never tire. Yes, sir—I’m a red-hot shot. I can cook your meals, turn the factory wheels, ’cause I’m Reddy Kilowatt.”