Posts Tagged ‘Robert Bly’
June 23, 2015 | by Dan Piepenbring
The narrator of “Yancey,” Ann Beattie’s story in our new Summer issue, is an aging poet; she tells of her encounter with an IRS agent who shows up to audit her. Toward the end, she recites a poem to him—James Wright’s famous “Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota”:
Over my head, I see the bronze butterfly,
Asleep on the black trunk,
Blowing like a leaf in green shadow.
Down the ravine behind the empty house,
The cowbells follow one another
Into the distances of the afternoon.
To my right,
In a field of sunlight between two pines,
The droppings of last year’s horses
Blaze up into golden stones.
I lean back, as the evening darkens and comes on.
A chicken hawk floats over, looking for home.
I have wasted my life.
As it turns out, that poem first appeared in The Paris Review; it was published some fifty-four years ago alongside his “How My Fever Left” in our Summer-Fall 1961 issue. Since then, that last line has inspired reams of analysis and debate—is it a lament? Is it a joke, a kind of boast? Did Wright intend to undercut or to bolster his pastoral scene with it? Could it be a winking response to Rilke, whose “Archaic Torso of Apollo” concludes with the imperative “You must change your life”? Beattie’s IRS agent isn’t sure what to make of it: 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 »
February 26, 2013 | by Rhoda Feng
The Grolier Poetry Book Shop in Cambridge, Massachusetts, is both a misnomer and an anomaly. It has long dedicated itself to the task of promoting the reading and writing of poetry and has, for eighty-five years, served as a niche for poets the world over. While its reputation has bloomed over the years, thanks largely to word-of-mouth praise, it has never fared well financially, partly due to competition from larger stores and the Internet, partly because poetry has never been popular with the masses, and partly because its founder seems to have done everything in his power to ensure that his store not be turned into a business.
Located on Plympton Street in Harvard Square, the Grolier occupies just 404 square feet of space and is dwarfed by the neighboring Harvard Book Store. A white square sign with meticulous black lettering juts out near the top of the store entrance. The font size decreases from top to bottom, much like on an eye exam chart, and one can just make out, at the very top, a finely done illustration of three cats (or is it the same cat?) dozing, grooming, and turning their backs on the viewer.
Upon ascending a small flight of steps, one is greeted by the sight of an abundance of colorful spines—approximately fifteen thousand—neatly arranged against nearly every flat surface of the shop. These volumes are neatly balkanized into several categories, including anthologies, used, African-American, early English, Irish, Russian, Chinese, Iranian, Indian, Latin, classical Greek, Japanese, Korean, East European, Spanish, and Catalan.
Above the towering shelves are approximately seventy black and white photos (many courtesy of the photographer Elsa Dorfman) of poets and other members of the literati for whom the Grolier has served as a meeting place for well over half a century. Among the Grolier’s most illustrious visitors, most of whom are smiling or gazing sagely and serenely ahead in the photos, are T. S. Eliot, Robert Lowell, Elizabeth Bishop, e. e. cummings, Marianne Moore, James Tate, Donald Hall, and Helen Vendler.
Off to one side at the front of the store sits a lean shelf of chapbooks and a donation jar; a small note says that the chapbooks have been generously donated by the author and that monetary contributions to the shop would be greatly appreciated. Directly across this bookcase is the cash register, propped up on a desk and flanked by sundry items, including bookmarks, promotional literature, pamphlets, business cards, and commemorative pens. On the wall right adjacent to the register hangs a certificate from Boston Magazine honoring the Grolier as the best poetry store of 1994. Read More »
October 7, 2011 | by Lorin Stein
The Paris Review congratulates Tomas Tranströmer, recipient of the Nobel Prize in literature. A valued contributor to the Review, Tranströmer is a poets’ poet, one whose name has come up in several of our interviews. Jorie Graham and Robert Bly both cite his influence. Translating Tranströmer, Bly told us, “was an amazing experience for me because there was a kind of image appearing in him that I’d never seen before ... You feel yourself, because of the work you’ve done on the image, invaded by the image. You feel that it has become a part of your house like someone who’s moved into your house, and your house is changed then.”
More prosaically, perhaps, Seamus Heaney credited Tranströmer and his wife, Monika, with this excellent-sounding marital advice: “Things will work fine as long as you see each other every six weeks ... Just don’t let more than six weeks go past.”