Posts Tagged ‘The Art of Poetry’
October 30, 2014 | by Dan Piepenbring
Galway Kinnell, who aspired to a poetics that “could be understood without a graduate degree,” died on Tuesday in Vermont, at eighty-seven. A winner of both the Pulitzer and the National Book Award, Kinnell wrote poems that “dwell on the ugly as fully, as far and as long as I could stomach it,” as he once told the Los Angeles Times. “I think if you are ever going to find any kind of truth to poetry it has to be based on all of experience rather than on a narrow segment of cheerful events.”
Tony Hoagland said that Kinnell’s primary subjects were “mortality, erotic love, and creatureness.” That might make him sound solemn, But Kinnell, who was born in Rhode Island, could also be exceptionally warm, especially when his subject was New England. An obituary by the Associated Press quotes Major Jackson, who included Kinnell among “the great quintessential poets of his generation”:
In my mind he comes behind that other great New England poet Robert Frost in his ability to write about, not only the landscape of New England, but also its people … Without any great effort it was almost as if the people and the land were one and he acknowledged what I like to call a romantic consciousness.
It would be hard to overstate the effect of Kinnell’s poems on the form at large. “I don’t think Galway Kinnell influenced me, but what’s more important, he inspired me,” Philip Levine said in his Art of Poetry interview:
When I read his great poem “The Avenue Bearing the Initial of Christ into the New World,” I said, My God, this is how good the poetry of my generation can be. I can remember exactly where I was when I first read it, on the second floor of the library in an armchair holding The Hudson Review and shivering with excitement.
The Review published Kinnell’s poems throughout his career; his work first appeared in our Spring 1965 issue. We’ve made available one of those earlier poems, “On the Frozen Field,” which begins:
We walk across the snow,
The stars can be faint,
The moon can be eating itself out,
There can be meteors flaring to death on earth,
The Northern Lights can bloom and seethe
And be tearing themselves apart all night,
We walk arm in arm, and we are happy.
You can also read “The Geese,” from our Summer 1985 issue, and “Lackawanna,” from Fall 1994. But best of all is “Another Night in the Ruins,” which Kinnell read at a Review salon in 2001; you can hear the recording here.
October 24, 2014 | by Dan Piepenbring
Tomorrow marks the centenary of John Berryman’s birth.
I went in and asked for Mr. Yeats. Very much like asking, “Is Mr. Ben Jonson here?” And he came down. He was much taller than I expected, and haggard. Big, though, big head, rather wonderful looking in a sort of a blunt, patrician kind of way, but there was something shrunken also. He told me he was just recovering from an illness. He was very courteous, and we went in to tea. At a certain point, I had a cigarette, and I asked him if he would like one. To my great surprise he said yes. So I gave him a Craven “A” and then lit it for him, and I thought, Immortality is mine! From now on it's just a question of reaping the fruits of my effort. He did most of the talking. I asked him a few questions. He did not ask me any questions about myself, although he was extremely courteous and very kind. At one point he said, “I have reached the age when my daughter can beat me at croquet,” and I thought, Hurrah, he's human! I made notes on the interview afterward, which I have probably lost. One comment in particular I remember. He said, “I never revise now”—you know how much he revised his stuff—“but in the interests of a more passionate syntax.” Now that struck me as a very good remark. I have no idea what it meant and still don't know, but the longer I think about it, the better I like it. He recommended various books to me by his friend, the liar, Gogarty, and I forget who else. The main thing was just the presence and existence of my hero.
—John Berryman, The Art of Poetry No. 16, 1972
October 13, 2014 | by Dan Piepenbring
I’ve been enormously fortunate. People say, How do you feel about your reputation? My real belief is that I have exactly the reputation I deserve … on the whole I feel comfortable with myself. You know I’ve always always loved that line from Chaucer’s Criseyde, “I am meyne own woman wel at ease.” That’s the way I feel. Of course, there are always disasters looming, both cosmic and domestic. But even if it should all end tomorrow I would just hope I’ve burned enough bad drafts and old love letters!
—Carolyn Kizer, the Art of Poetry No. 81, Spring 2000
Carolyn Kizer died last Thursday at eighty-nine, the New York Times reports. Her poems are immaculately crafted and very smart, often with a steely feminism; she won the Pulitzer Prize in 1985 for her collection Yin. As the Times says, “She was writing as early as the 1950s about the conflict for women between the creative imperative and social expectations—but it was far different in character from that of her contemporary Adrienne Rich. Where the poems of Ms. Rich, who died in 2012, landed like bombs flung from the barricades, those of Ms. Kizer felt more like a stiletto slipped between the ribs.”
Ursula K. Le Guin called Kizer’s poetry “intensely, splendidly oral, wanting to be read aloud, best of all to be read or roared by the lion herself.” Kizer, born in Washington, was known for her long, careful periods of revision, as evidenced in the manuscript above. (She was an honest self-critic, too; note that “Re-write this LOUSY couplet” scrawled in the margin.) She took more than thirty years to edit the sequence “Pro Femina,” which contains one of her most famous lines: “We are the custodians of the world’s best-kept secret: Merely the private lives of one-half of humanity.”
In addition to her Writers at Work interview, The Paris Review published many of Kizer’s poems, including “Twelve O’Clock,” in our Winter 1990 issue; and “Gerda,” which opens with an old Swedish children’s prayer, from Spring 1987. To celebrate her life, we’ve made them both available online. Read More »
September 17, 2014 | by Dan Piepenbring
Most people are oppressed in some way or other by their family’s expectations, by their parents’ psychological issues, by any number of things. And it holds us back, it limits who we can be in the world. We’re so consumed with our personal problems that we’re not doing more important things. I mean, who am I to talk? All I do is sit in my basement making notes about my therapy sessions. But I want us all to be autonomous and think for ourselves and do the things we’re good at, and I think that’s much more the exception than the rule for people. Not to mention living in a democracy that’s functional. I mean, if we were all really doing those things, what would our world look like?
This latest round of “genius” grants—always with those pesky tone quotes!—inspired NPR to look back at the work of Amy Clampitt, whose poems the Review occasionally published before her death in 1994. Clampitt, a 1992 MacArthur fellow, used her grant money to buy a home in Lenox, Massachusetts, “a small, clapboard house that became the seventy-two-year-old poet's first major purchase.” Soon after, Clampitt was diagnosed with ovarian cancer, and her husband Harold Korn
dreamed up a fund to benefit poetry and the literary arts. Since 2003, the house Clampitt bought with her MacArthur money has been used to help rising poets by offering six- to twelve-month tuition-free residencies …
This December, the nineteenth resident of the house Amy Clampitt purchased with her MacArthur purse will settle in, get to work and likely draw on some of the same things that inspired Clampitt. Among them is a small box on the mantel filled with the late poet's beach glass collection.
Clampitt was interviewed for our Art of Poetry series in the Spring 1993 issue, where she elaborated on another collection of sorts:
My own original handwritten drafts are usually on the backs of those silly announcements law firms send out, that so-and-so has just been appointed a partner, which would otherwise go into the wastebasket, and which my best friend Hal, a law professor, saves for me. They’re printed on fine creamy vellum, and they’re very small—four-by-six inches or so, though maddeningly there isn’t even a standard size. I’ve put away stacks of these things for a single poem.
Below is an abbreviated list of Paris Review contributors who have been awarded grants over the twenty-three years of the Fellows program: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.
May 23, 2014 | by Dan Piepenbring
Today’s the last day to claim your copy of our twenty-first issue, published in the spring of 1959.
To celebrate American Masters’s Plimpton! Starring George Plimpton as Himself—a documentary about our late, great founder George Plimpton—The Paris Review is giving all new subscribers this remarkable issue, which includes an interview with T. S. Eliot, the very first in our Art of Poetry series; fiction from Plimpton pals Alexander Trocchi and Terry Southern; poems by Ted Hughes, Robert Bly, and Louis Simpson; and a special portfolio of “Artists on Long Island” including Willem de Kooning, Franz Kline, and Larry Rivers.
Subscribe now and we’ll send you a copy of your own.
U.S. residents can watch Plimpton! Starring George Plimpton as Himself in its entirety online, courtesy of PBS.