{"id":158856,"date":"2022-04-26T12:40:32","date_gmt":"2022-04-26T16:40:32","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=158856"},"modified":"2022-04-26T12:40:32","modified_gmt":"2022-04-26T16:40:32","slug":"redux-the-poets-nerve","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2022\/04\/26\/redux-the-poets-nerve\/","title":{"rendered":"Redux: The Poet\u2019s Nerve"},"content":{"rendered":"

Every week, the editors of\u00a0<\/em>The Paris Review\u00a0lift the paywall on a selection of interviews, stories, poems, and more from the magazine\u2019s archive. You can have these unlocked pieces delivered straight to your inbox every Sunday by\u00a0signing up for the Redux newsletter<\/a>.<\/em><\/p>\n

\n
\"\"<\/a>

Claudia Rankine. Photograph by John Lucas, courtesy of Graywolf Press.<\/p><\/div>\n<\/div>\n

<\/div>\n

\u201cOften when I teach my poetry workshop,\u201d Claudia Rankine tells David L. Ulin in her\u00a0Art of Poetry<\/a>\u00a0interview, \u201cI will take essays or passages from fiction or a scene from a film and list them among the poems to study. The \u2018Time Passes\u2019 section in the middle of To the Lighthouse is an example of a lyric impulse. Others might be a passage from James Baldwin or Homi Bhabha or an image by Glenn Ligon or a song by Coltrane.\u201d As National Poetry Month draws to a close, we\u2019ve been wondering what really makes a poem a poem, so we decided to consult a few experts. Draw your own conclusions from Adam Zagajewski\u2019s \u201cMy Favorite Poets<\/a>,\u201d Gordon Lish\u2019s \u201cHow to Write a Poem<\/a>,\u201d and a vibrant\u00a0portfolio<\/a>\u00a0of artworks by the poet and painter Etel Adnan. And here on the\u00a0Daily<\/em>, you can\u00a0listen<\/a>\u00a0to Henri Cole, whose poem \u201cThe Other Love<\/a>\u201d appears in our\u00a0Spring issue<\/a>, read some of his favorites from the\u00a0Review<\/em>\u2019s archive, which he selected for his takeover last week of our\u00a0daily poetry newsletter<\/a>.<\/p>\n

INTERVIEW
\nThe Art of Poetry No. 102<\/a>
\nClaudia Rankine<\/em><\/p>\n

\n

As a poet, I want to use language to enter that space of feeling. I\u2019m less interested in stories. That\u2019s one reason I write poetry.<\/p>\n

From issue no. 219 (Winter 2016)<\/p>\n

<\/p>\n

\"\"<\/a>

Etel Adnan, Untitled (MT. TAMALPAIS 1)<\/em>, CA. 1995\u20132000, OIL ON CANVAS, 14 X 18″.<\/p><\/div>\n

PROSE
\nHow to Write a Poem<\/a>
\nGordon Lish<\/em><\/p>\n

I tell you, I am no more interested in poetry than the next fellow is. I mean, I can take it or leave it. On the other hand, once in a blue moon I come across a poem whose unfolding holds me for the distance. Not that it must be a very good poem, in mine or in someone else\u2019s opinion. On the contrary, my enthusiasm is entirely a function of my hoping to detect a key insufficiency in a poem of no particular merit, of my intuiting a certain turning where the poet\u2019s nerve\u2014forget intelligence\u2014failed him.<\/p>\n

From issue no. 82 (Winter 1981)<\/p>\n

\"\"<\/a>

Etel Adnan, La Montagne 7<\/em>, 2014, aquarelle and Chinese ink on paper, 20\u2009\u00bd\u2009 x 27 3\/5″.<\/p><\/div>\n

POETRY
\nMy Favorite Poets<\/a>
\nAdam Zagajewski<\/em><\/p>\n

Sometimes they knew
\nwhat the world was
\nand wrote hard words
\non soft paper
\nSometimes they knew nothing
\nand were like children
\non a school playground<\/p>\n

From issue no. 226 (Fall 2018)<\/p>\n

\"\"<\/a>

Etel Adnan, Paysage 1<\/em>, 2014, oil on canvas, 12\u20093\/5 x 16\u200a”.<\/p><\/div>\n

ART
\nThe Shape of the Mountain<\/a>
\nEtel Adnan and Nicole Rudick<\/em><\/p>\n

When the war for Algerian independence began in 1954, she became hardened against the French language, in which she had been writing poetry. \u201cPainting,\u201d she says, \u201copened to me a different way of expression. And as my Arabic was poor, in some moment, as a defiance, I happened to say, I will paint in Arabic!\u201d The California landscape awakened her spiritual instincts and focused her gaze. While living near Mill Valley, she had daily views of Mount Tamalpais. \u201cTo observe its constant changes became my major preoccupation,\u201d she has written. \u201cI even wrote a book in order to come to terms with it\u2014but the experience overflowed my writing. I was addicted.\u201d<\/p>\n

From issue no. 224 (Spring 2018)<\/p>\n

 <\/p>\n

If you enjoyed the above, don\u2019t forget to\u00a0subscribe<\/a>! In addition to four print issues per year, you\u2019ll also receive complete digital access to our sixty-nine years\u2019 worth of archives.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

This week, we\u2019ve lowered the paywall on Claudia Rankine, Gordon Lish, Adam Zagajewski, and Etel Adnan.<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[31006],"tags":[68415,18531,8045,2282,31384],"class_list":["post-158856","post","type-post","status-publish","format-standard","hentry","category-redux","tag-adam-zagajewski","tag-claudia-rankine","tag-etel-adnan","tag-gordon-lish","tag-redux"],"acf":[],"yoast_head":"\nRedux: The Poet\u2019s Nerve by The Paris Review<\/title>\n<meta name=\"description\" content=\"April 26, 2022 \u2013 This week, we\u2019ve lowered the paywall on Claudia Rankine, Gordon Lish, Adam Zagajewski, and Etel Adnan.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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