June 28th Poetic Ticker Clicking
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Also, high in headlines this week is the death of poet Robert Kroetsch. You'll find three links on this in Poetic Obituaries. But please scroll to Judith Fitzgerald's spot in Great Regulars. She and Leonard Cohen have written a tribute poem to him.
unexpectedly released dissident poet Yusuf Juma, 53, who was immediately stripped of his Uzbek citizenship and expelled from the country.
defense of his military assault on organized crime in an unusual public faceoff Thursday with his biggest critics: sometimes weeping relatives of murder victims who blame the government for the bloodshed.
into panic as the Germans began shoving Jews by the tens of thousands on trains bound for Treblinka, 60 miles to the northeast. For a time, until it became morally unacceptable to him, [Wladyslaw] Szlengel had belonged to the ghetto's Jewish police force. Then, assigned to work in a brush factory, he continued to be spared the fate of so many of the others. But it took time to liquidate the ghetto, and for thousands of others, life went on. Szlengel kept writing his poems, first by hand, then typing them on carbon paper, so that they could circulate more easily. Often, he read them aloud to groups of Jewish factory workers. Others would copy and then recopy them: The grammatically incorrect Polish on some versions, Kassow notes, indicates that for some of those circulating them, Polish was not their native tongue. As conditions became more desperate, the impact of the poems grew. Emanuel Ringelblum, the historian who led the massive effort to chronicle ghetto life by stashing away documents in cans he hoped would be unearthed after the war, called Szlengel "the poet of the Ghetto."
said her treatment in prison had improved in recent days, in contrast to the extreme mistreatment she received when she was first detained at the end of March when she was hit in the face with electric cable, held for nine days in a tiny cold cell and was forced to clean toilets with her hands.
formed part of the firing squad. One of his cousins was the model for a rogue character in The House of Bernardo Alba, finished a few months earlier, in which [Federico García] Lorca deliberately took aim at the rival Alba family. "They were angry with the father and took their revenge on the son," said [Miguel] Caballero [Pérez].
for literature, for poetry, in the simple continuity of a tradition? I believe there is not. A relatively steady tradition, like English or French, accumulates a distinctive quality and tends to impose this on each new member. Does this give him a deeper feeling for the experience gathered up in the tradition, or a better understanding of it? I doubt it . . . For the present--especially in this present--it seems that every writer has to make the imaginative grasp at identity for himself; and if he can find no means in his inheritance to suit him, he will have to start from scratch."
is the private abecedary of a playful but serious imagination, a field guide to daydreams and frailties. It reads to me like the love child of Edgar Lee Masters's Spoon River Anthology and Paul Muldoon's alphabetical survey of Irish literature, To Ireland, I. The collection is made up, as its title suggests, of verse and prose studies of the varieties of humans: "Adulterers," "Bookies," "Couch Potatoes," "Defectors from the Freudian Camp," "Eulogists," "The Lovesick," etc. But earnest, typecast, de rigueur efforts these are not. The poem "Missing Persons" is a mad lib. "One Night Stands" refers us to the entry "Wrong Numbers," a poem that doesn't appear in the book. "Queue Jumpers" butts in between "Bargain Hunters" and "Bookies." "Identical Twins" and the book's first poem, "Accidents" are, beautifully, exactly the same.
Stumble out of the black and silver water,
not to be included in all-female poetry anthologies is still adhered to today.
as he considers "the greatest thing we did/was toss an apple core from a car" and ponders the risks of mushroom-picking. There is a rabbit, a nest, a clifftop, and a mole poem that Edmund Blunden might have admired, though Ted Hughes's pike still has its jaws round "Perfect":
How worried should we be? Very, says Eli Pariser, who has written a book--The Filter Bubble: What the Internet Is Hiding from You--about the potential evils of excessive personalisation. It will, as the kids say, "creep you out".
people tend to imagine. The history of modernity is, among other things, the history of substitutes for God. Art, culture, nation, Geist, humanity, society: all these, along with a clutch of other hopeful aspirants, have been tried from time to time. The most successful candidate currently on offer is sport, which, short of providing funeral rites for its spectators, fulfils almost every religious function in the book.
Blood Culture: In Memoriam Robert Kroetsch (June 26, 1927--June 21, 2011)
a strong, anti-booze man who was "a terrible man,/Grim, righteous, strong, courageous,/And a hater of saloons and drinkers." Logan, no doubt, sees himself as his "terrible man," who could "keep law and order in the village."Again, the town marshal shows the high estimation he has of himself. His strong sense of self accomplishment motivates his actions.
the end is the beginning of something else. It is the beginning of the unknown--that's why it can be so scary. That's why it can fill us with unease, but remember that we would get bored if life were predictable. We love the unknown in books, for example. We love movies that shock and awe, stories that end with a twist. We love poems whose endings make us hoot in delight:
by Paul Zimmer
lives than others, but all of us have them. Here Karin Gottshall, who lives in Vermont, shares a variety of loneliness that some of our readers may have experienced.
it can sometimes seem unfamiliar even to people who live here. Robert Chute of Poland Spring explores that theme in this week's poem about Down East.
The Golden Gate
describing the garden of the world's affairs, in which men strive hard to win crowns of "the palm, the oak, or bays." (Julius Caesar wearing his wreath of beaten-gold laurel leaves comes to mind.) These three trees represent military, civic, and poetic honors, respectively.
They're also vibrations that emerge from the human mouth. Leaving poetry aside, the different sentence rhythms of Ernest Hemingway and William Faulkner, the different consonant patterns of Jane Austen and Samuel Johnson, are in part bodily matters. If you imagine yourself saying the sentences of such different writers out loud, the physical sensation is different. The sentences in which [Tim] Parks describes his (former) terrible posture or his (dispelled) urinary problems have sounds and cadences different from those someone else might compose. Yet Parks insists that words are purely cerebral, quite removed from the body.
impressionistic portrait, related to Monet's windswept figure of the "Woman with a Parasol". It's not "about" the Monet paintings, but the allusion helps us visualise the strange, dissolving quality of the poem's central image. "Everywhere you see her . . ." could signal a love poem, obsessed by a particular woman. Equally, it could be about "Everywoman". Her identity is unstable, because the weather of the receptive imagination constantly reshapes it. Monet himself painted two women with parasols--his wife and, later, his step-daughter. [Mimi] Khalvati's figure, like Monet's, seems at first to be composed of sky and wind.
and so clearly that the least historically-minded reader can follow this story of shifting fortunes. But this isn't popular history; it's a book about a book. As with all poetry, the devil of the Divine Comedy is in its detail.
"Our Lady of Perpetual Help," and an article from 2009, "A Home to Prayers of Healing and Hope."
I would go to the poetry section (811 in the Dewey System . . . 821 English Poetry, 831 and 841 German, French Poetry, respectively, and onward through the nations). I would pick three volumes, pretty much at random, and take them to the map room, where I would read not only the content but also the cover material and the copyright page. I did that every day for many years. [--Carl Adamshick]
another section of the app compares passages from the original scroll manuscript with the finished book, highlighting just those sections (detailing drug use or graphic sexuality) that had to be scaled back. The result is a three-dimensional look at the novel as a function of process--not just its author's process but also the process by which the book was edited and brought out.
by Leonard Cirino
gravitate towards irony, aesthetics and metaphysics. The first poem, "How Long," is apocalyptic in a way reminiscent of Franz Kafka's parables or Samuel Becket's "Waiting for Godot." The poem "Wild Tumult" echoes with biblical rhetoric, as in Psalm 65:5: "The roaring of the billows and the wild tumult of the nations . . ." Juxtaposed with the word "inspected" positioned vertically on the side, the poem proposes a divine (or poetic) perspective: a remote and contemplative observation of the world's wild tumult.
Wednesday 22 June 2011 by Iain Sinclair
of poetry and prose, including four volumes which together have won the Academy of American Poets' Lamont prize, a National Poetry Series Selection and two nominations for the National Book Award. He is poet-in-residence and professor of English at North Carolina State University
Santa Cruz Inspiration," a poem about the 1989 Loma Prieta Earthquake.
local legend. The American-born Adams was a keen Christian and an eager entertainer. He busked, performing poetry and original songs--but his default setting was The Gambler. That, and his look, earned him his nickname.
of her role as an author. Her books were written under terrible circumstances--time snatched while abroad getting medical treatment or under the watchful eye of KGB guards when in Gorki. While "Alone, Together" and "Mothers And Daughters" are personal chronicles, she consciously speaks for many voiceless people in the era of Stalinist repression in Moscow and the Soviet republics that took away her father, consigned her mother to years in the gulag, and whose effects lingered throughout her lifetime.
aged 83, was the inventor of the original women's Seder (now proliferating throughout the United States and Israel); co-author with Naomi Nimrod of "The Women's Haggadah" (published in Ms. magazine in 1977 and later in Esther's book, "The Telling"); creator of enduring Jewish feminist rituals; published poet, novelist, pamphleteer, autobiographer; literature professor; political organizer, activist and all-around holy troublemaker. But Esther was, above all, a weaver of women.
in 1958 from Harvard and performing six months' active duty in the Army Reserves, he [Arthur Whitney Ellsworth] was hired at The Atlantic Monthly.
and poet. She was skilled at crossword puzzles, great with her pets, and had a great sense of humor.
Dictionary of Word and Phrase Origins and series on American regionalisms, he [Robert Hendrickson] also penned books on countless other topics--from how chewing gum came to be to why the Civil War began. His real passion, however, was writing short stories and poems, of which many have appeared in literary magazines around the globe and a full collection of which will be published by his family in remembrance of his literary life.
completed an MA in Creative Writing at Sheffield Hallam University.
and autobiographer [Tom (T.A.G.) Hungerford] was best known for his 1983 bestseller, Stories from Suburban Road, later adapted into a sell-out play and television series, which described his adventurous childhood in South Perth during the Great Depression.
and poetry. Visitors to her Facebook page also referenced her writing talent in their condolences.
experimenting with magic realism in What the Crow Said and parodying the myths of the founding of the West in many of his books, often to comic effect.
the presentation which is half of poetry. The oral aspect of it, Ed had that more than anybody I've ever known."
an encyclopedic grasp of Jewish heritage, and a rare ability to understand--and an even rarer capacity to reproduce--the richly allusive Hebrew poetry of medieval Spain, focusing especially on the works of the 11th-century poet and philosopher Solomon Ibn Gabirol.
Second Baptist Church and American Legion Auxiliary and enjoyed spending time with her sons and grandsons, playing guitar, singing, writing poetry and music.
a social worker in Columbia and Spartanburg before her children were born. A poet and gardener at heart, Kit was a devoted wife of 47 years, a generous and unconditionally loving mother to her three children, and a proud grandmother to her two grandsons.