Tuesday, January 27, 2009

Poetic Obituaries: [William J. Pomeroy] continued to pour out

a torrent of books and articles: "Apartheid, Imperialism, and African Freedom"; "Apartheid Axis: United States and South Africa"; "American Neo-Colonialism: Its Emergence in the Philippines and Asia"; "Guerrilla Warfare and Marxism"; a volume of poetry, "Beyond Barriers"; and a collection of short stories, "Trail of Blame."

Among his most touching books, is "Sonnets for Celia," a slim volume of love poems he composed for his wife while they were in prison.

from People's Weekly World: William J. Pomeroy, Philippine freedom fighter, dies

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Poetic Obituaries: [Evelyn Thompson] had a special gift

for writing poetry for everyone, on every occasion. Her Christian faith and her family were important to her.

from Hillsboro Argus: Evelyn Thompson, 92, service Saturday

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Poetic Obituaries: [John] Updike said that his aim was

to "give the mundane its beautiful due", and he had an uncanny ability to find the right words to conjure up scene and character. His description of "the physical fact of a horse--the pungent, assaultive hugeness of the animal and the sense of a tiny spark, a gleam of skittish and limited intelligence, within its monstrous long skull"--is immediately evocative. Likewise his "clean, sad scent of linoleum", or the "hoarse olfactory shout" of a football stadium. Adam Mars Jones declared that, if he should ever go blind, tapes of Updike's novels would be his best reminder of the visual world.

from Telegraph: John Updike
also The Guardian: John Updike, chronicler of American loves and losses, dies at 76

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Tuesday, January 20, 2009

Inauguration Day Poetic Ticker Clicking

News Article Tape:
Blog Entry Tape:

Inauguration Day forum announcement

Dear Poetry Aficionados,

IBPC: Poetry & Poets in Rags



The big news this week is Elizabeth Alexander's inauguration poem. With this, we have a few stories leading up to the occasion. That's just in News at Eleven. Many of our Great Regulars have either published poetry by Alexander, poetry about the inauguration, or articles on inaugural poetry. Already today, David Ulin and Adam Kirsch have critiqued her reading.



Never before, has a poem received this much attention in the years I have been bringing this column to you. The poem and her performance is being panned, while it is also being called dazzling and stirring elsewhere. My take, is that I enjoyed it. However, I will restate as I did in the the December 13th forum announcement, that it should have been the Poet Laureate of the United States, Kay Ryan, reading at the inauguration. I am appreciative that for the fourth time, we have had a poem read at the event. Hopefully this goes far to establishing an important tradition. And I appreciate the art that Barack Obama brought to the occasion. But we need to get this right. This is what our poet laureate is for.

But, it is not just Alexander's poem that the inauguration inspired. We have several other poems from around the world for the occasion, including one from the Poet Laureate of Wales, Gillian Clarke. But watch for the articles throughout both News at Eleven and Great Regulars from Great Regular E. Ethelbert Miller and Foreign Policy in Focus' Fiesta! section. And there are others.

So what did this poetic inaugural event upstage? Bad news. The Dodge Poetry Festival has been cancelled for 2010. Read all about it on our back page. As we came together in our homes and workplaces today to watch the inauguration, we will not be coming together in person in Stanhope, New Jersey in a year and a half. I hope there's some money out there that can turn this bit of news around. The Dodge is important.



I've said so much, I need to leave all else to your discovery.

Thanks for clicking in.

Yours,
Rus

Our links:

IBPC: Poetry & Poets in Rags

Poetry & Poets in Rags blog

IBPC Home

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News at Eleven: Praise song for the day.

Each day we go about our business, walking past each other, catching each others' eyes or not, about to speak or speaking. All about us is noise. All about us is noise and bramble, thorn and din, each one of our ancestors on our tongues. Someone is stitching up a hem, darning a hole in a uniform, patching a tire, repairing the things in need of repair.

from About.com: Mark's Contemporary Literature Blog: Elizabeth Alexander's Inaugural Poem
also Houston Chronicle: Capturing a moment not soon forgotten
also The New York Times: Seeking Words to Move by Trusting Her Voice
also National Post: Elizabeth Alexander and the language of history


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News at Eleven: The poet originally from Cardiff

but now living in Ceredigion explained: "A few days after his election I was performing in front of 2,000 schoolchildren in Birmingham.

"Academi's message that they wanted me to write a poem for Obama came through and I was introduced by the chief examiner as the National Poet of Wales who will write a poem for Obama.

[by Gillian Clarke]

New Year, 2009

Venus in the arc of the young moon

from BBC News: Poem sent for Obama inauguration

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News at Eleven: [by Fady Joudah]

The rice field birds are too clever for scarecrows,

from Foreign Policy In Focus: Fiesta!: Poem: 'Scarecrow'

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News at Eleven: [by Kathy Engel]

This is the time

from Foreign Policy In Focus: Fiesta!: Poem: 'Inaugural'

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News at Eleven: Since [Edgar Allen] Poe made his literacy bones

in Philly, isn't it only right they be returned there?

"What gets me is, Poe is treated like the son of Baltimore, but Baltimore wanted no part of Poe when he died," [Edward] Pettit says. "There were three people at his funeral, no tomb."

With a pen mightier than Ben Franklin's and and an underdog story worthy of Rocky Balboa, Poe would be a perfect fit for Philadelphia, the former magazine capital of the U.S.

from Courier-Post: Cities gear up for celebrations of Poe
also South Coast Today: Even at 200, Poe endures in pop culture

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News at Eleven: [Robert Burns] knew that he was,

for some of his supporters, an exotic specimen to be exhibited, proof that a “mute inglorious Milton” really could be found behind a plough. In fact, he exploited this image, aware of its currency and marketability; it was, as he put it, “part of the machinery of his poetical character” to pass for “an illiterate ploughman who wrote from pure inspiration” on occasion. But this acquiescence in the role scripted for him by the culture was almost invariably accompanied by subversive elements.

from The Times Literary Supplement: The defence for Robert Burns

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News at Eleven: The performances of LKJ's poems are accompanied

by reggae rhythms, but according to the poet himself these rhythms are inherent in the meter of the verse, indeed, LKJ continues to see his texts as poems and not songs, insisting that his poems must work as poems.

To describe this type of demotic hammered poetry LKJ coined the term ‘dub poetry' in reference to the technique of dubbing or mixing the instrumental track of a recording with voice. In reggae terms dub, strips away many of the melodic tracks leaving only the rhythm section with the other instruments reduced to an echo. These instrumental recordings allow DJs to toast or chat over the top of the music and this is where LKJ finds the space to perform his poetry.

from PopMatters: Linton Kwesi Johnson and the Eloquence of Rioters

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News at Eleven: They tell him, "Benjamin, when you have a mortgage

and children, you'll know what it feels like." But of course he [Benjamin Zephaniah] never will have a mortgage and children, he never will mellow. "Because I've got to tell you really honestly, if you look at a lot of my work in the early days, there was stuff I was really angry about, and deep down I still am angry about it. OK, I'm not getting arrested by police in the way that I used to, but there's lots of things in the world that I'm still angry about. I just think: why can't people see the bigger picture and not just think about themselves?"

from The Guardian: The interview: Benjamin Zephaniah

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News at Eleven: In 1969 [Ciaran] Carson missed dying by an inch

or so when a bullet tore through a taxi he was sitting in on the Falls Road and over the next two decades he was stopped repeatedly by soldiers. "When somebody comes to you and says 'OK, mate, over here, against the wall'," he says in exaggerated Cockney, "and you're asked who you are, where you're from, and you say: 'I'm from here.' When you hear it, in your home . . ." Did it ever make him feel like joining in?

from The Guardian: A life in poetry: Ciaran Carson

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News at Eleven: [George] Szirtes knows that to write a sonnet

places him in a distinct tradition; but the liberties he takes with the form, and his use of the sonnet sequence, allow him to question and enrich that tradition. With their almost-refrains and near-repeated lines, Szirtes’s haunting sequences allow him to explore the shifts and faults in the cultural connections that he makes.

Cultural displacement can be fruitful for a poet; linguistic displacement is more difficult to manage.

from The Times: George Szirtes, New and Collected Poems and Reading George Szirtes, by John Sears

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News at Eleven (Back Page): Slammed by the economic downturn,

the Geraldine R. Dodge Foundation has canceled its signature poetry festival for 2010 and implied the event may not return in its nationally recognized form.

David Grant, president and CEO of the Morristown foundation, said the poetry program--until now--had been spared the kind of cuts that have affected other foundation grant areas every year since 2002.

"Poetry was the last thing where we had to pull back and try to do more with less or try to do different things," Grant said.

In a letter to its poetry constituents, Grant said the foundation's assets have dropped 30 percent.

from The Star-Ledger: N.J. poetry festival organizers cancel 2010 event, future uncertain

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Great Regulars: The main stylistic influence on the New Zealand

poet CK Stead is probably Ezra Pound, from whom he has inherited a delight in iconoclastic adaptations of classical poets. Here's his take on Catullus--"Death, you clever bugger/who would have credited you/with such finesse!" And the sequence "Walking Westward" (1979) is full of the colloquial rumbustiousness and jarring disjunctions of the middle Cantos.

from Charles Bainbridge: The Guardian: Collected Poems 1951-2006 by CK Stead

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[Derek] Walcott's lyricism is on full show, from the piercing insights of "Elsewhere" to the sense of wonder and craftsmanship to be found in "The Bounty"--"Never get used to this; the feathery swaying casuarinas,/the morning silent light on shafts of bright grass". But his greatest achievement lies in his ability to combine this lyricism with broad narrative structures.

from Charles Bainbridge: The Guardian: Selected Poems by Derek Walcott

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Great Regulars: Carnal desire, the poet reflects,

allows no lasting fulfillment and is childish, one that draws out the pure beauty of an even thoughtful and discriminating individual to its grave, thereby proving the ephemeral nature of such love. The 'child' in him is yet to learn how not to make mistakes in stupidity.

Every single beauty of the world is subject to mortality owing to some "guilty" defect in wholeness.

from Bhaskar Banerjee: Merinews: Transcendent love through a lullaby

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Great Regulars: On the other hand, a deft political poem,

a poem that inserts itself into civic discourse with one eye on time and another eye on lyrical imperatives is a rare and necessary piece of art. Richard Hugo's "Degrees of Gray in Philipsburg," Carolyn Kizer's "The Erotic Philosophers," Allen Ginsberg's "Howl," Robert Lowell's "For the Union Dead," C.D. Wright's "King's Daughters, Home for Unwed Mothers, 1948" and Adrienne Rich's "What Kind of Times Are These" are a half-dozen examples of fine and important American political poems of the past 50 years.

But for now, this week, poetry and politics meet in a place where Langston Hughes can come out of the kitchen.

I, Too, Sing America

from David Biespiel: The Oregonian: Bookmarks: Poetry: Langston Hughes' words are in sync with new political era

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Great Regulars: Elizabeth Alexander: What I want to do

in the composition of the poem is to be very quiet and very humble before the forces that make me able to write poems.

It's a very, very big challenge. It's a very extraordinary moment. And I think the fact that Barack Obama has decided that he wants to have a poem as part of the inaugural is tremendously significant, to say that here is a time when we can listen to language that shifts us a little bit, that allows us to pause for a moment and contemplate what's ahead of us, to think about how we can contribute to the challenges ahead of us, all of those things can be possible in the moment of pause and shift that--that a poem makes possible.

from Jeffrey Brown: PBS: Newshour: Poet Elizabeth Alexander Reflects on Inaugural Reading
also Jeffrey Brown: PBS: Newshour: Poet Profile: Elizabeth Alexander

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Great Regulars: The poems in Heart's Needle--the first

of more than 30 volumes of poetry and translations published by Snodgrass in his lifetime--grew out of the poet's pain at losing custody of his young daughter, Cynthia, in the wake of a bitter divorce from his first wife. The lengthy title poem was addressed directly to Cynthia; the unadorned simplicity of stanzas such as "Winter again and it is snowing;/Although you are still three,/You are already growing/Strange to me" led to startled praise from a reading public raised on the anti-biographical doctrines of New Criticism.

from Sarah Crown: The Guardian: 'Father of confessional poetry' WD Snodgrass dies, aged 83

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Great Regulars: Heath in Key West

By John Mark Eberhart

Duval Street in five a.m. darkness:

from John Mark Eberhart: Parachute: Snuff the roosters

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Great Regulars: But instead of sinking into melancholy

with the news that sense experience is delusion, the speaker helps his listeners understand that "Sorrows bulge with joy./Failures are potent with determination for success,/Cruelties urge the instinct to be kind." The bad is not meant to cause harm but to encourage good.

from Linda Sue Grimes: Suite101.com: January Poet--Paramahansa Yogananda

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Soothsayers reporting future calamities often exhibit behavior that limits their credibility. Many of those "world dreaming" folks like to pretend to be prophets, even though they spout "incertainties." Their portentousness becomes a blemish, when their many claims are rendered false by time.

During times of supposed "peace," citizens fail to remember that there has never really been a time of peace on earth.

from Linda Sue Grimes: Suite101.com: Shakespeare Sonnet 107

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The speaker contradicts his beloved's claim of mortality. He reports what he said to her after she protested his attempt to immortalize her name in sand. He argues that "baser things" may "die in dust," but he has determined that she is too "glorious" to die and then offers his verse as the means for her gaining immortality.

from Linda Sue Grimes: Suite101.com: The Spenserian Sonnet

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Great Regulars: Liz B., try to remember that nothing is


really "lost" (I know, easy for me to say, right?). All the poems you wrote served to develop your skill, to bolster and train the voice that is now more than ever before ready to write poems. The old poems that you remember will be rewritten. Parts from the poems that you've forgotten will make their way into new and better poems. Isn't it kind of liberating that all your poems burned?

from Kristen Hoggart: The Smart Set: Ask a Poet: Weighty Topics

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Great Regulars: W.D. Snodgrass, a Beaver Falls native,

burst upon the American poetry scene like a comet in 1960 when his collection, "Heart's Needle," won the Pulitzer Prize and created a large following for his work.

"Nothing he published later equaled the readership of that book," said fellow poet Ed Ochester. "It was so sensational--poems that were both readable and formalist at the same time. It remains one of the finest books of 20th-century American poetry."

from Bob Hoover: Pittsburgh Post-Gazette: W.D. Snodgrass /Native of Beaver Falls who won the Pulitzer Prize for poetry

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Great Regulars: Most strikingly, however, [John] Buchan was

happily married, from the age of thirty two, to Susan Grosvenor, with whom he had four children; Leithen, like many of his "pals", remained a bachelor. On the third page of the first novel, Leithen mentions the wife of a dodgy clubmate as the "only person (person?) to have captured my stony heart"; by The Dancing Floor, this has been purified to the claim that "I had never been in love in my life". The girls in this omnibus are of the regular Buchan type: "slender", vivacious, respectably unconventional, "like an adorable boy" or "like a wild boy".

from Mick Imlah: The Times Literary Supplement: Then and Now

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Great Regulars: [Hortense] Calisher, the author of more than 20 books,

was a three-time nominee for the National Book Award and a four-time winner of the O. Henry Prize for the short story. Several works, notably "In Greenwich . . . ," have been anthologized.

Like Marcel Proust and Henry James, the writers to whom she was most often compared, Calisher composed in the thick, quantum rhythms of the mind. Her sentences were long, her language complex and her story lines often elusive.

"I do know that in the novel, I feel free to digress," Calisher told the Associated Press in 1998.

from Hillel Italie: Associated Press: Prize-winning writer Hortense Calisher dies at 97

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Great Regulars: As we welcome Obama into the White House,

I choose to celebrate with Yusef Komunyakaa's "Ode to a Drum," in which an African hunter addresses the gazelle he uses to feed his family and to make a drum. Assembling the instrument, the speaker recreates a living body to carry the song of lost ghosts (perhaps stolen by slave ships). But the drum's transforming power also binds its listeners in a powerful circle. It beats trouble from the land. By poem's end, it's a triumphant panther.

Gazelle, I killed you

from Mary Karr: The Washington Post: Poet's Choice

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Great Regulars: But what readers really want

is the same as what Shakespeare's audience wanted--dastardly deeds by dark, despicable men and/or some generous blood-spattering and/or saucy wenches with pert breasts cinched up to be displayed like fresh fruit on a platter. It isn't rocket science, people.

"Read my book," the novelist said. "Are there breasts in it?" asked Brad. "Oh, just grow up," the man sneered. He didn't notice Brad's left hand reaching under the workbench for the .357 Magnum he kept taped there for just this eventuality. "I'm a serious novelist," the man said quietly, "and I've won many awards." But those awards weren't going to save his skin from some serious perforation now. No, sir. BLAM BLAM BLAM.

from Garrison Keillor: Chicago Tribune: She saw her pale reflection in the window. A.k.a. torture

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Ars Poetica #100: I Believe
by Elizabeth Alexander

Poetry, I tell my students,

from Garrison Keillor: The Writer's Almanac: Ars Poetica #100: I Believe by Elizabeth Alexander

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Everyone is Afraid of Something
by Dannye Romine Powell

Once I was afraid of ghosts, of the dark,

from Garrison Keillor: The Writer's Almanac: Everyone is Afraid of Something by Dannye Romine Powell

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First Cutting
by Susie Patlove

What is the hayfield in late afternoon

from Garrison Keillor: The Writer's Almanac: First Cutting by Susie Patlove

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Having Confessed by Patrick Kavanagh

Having confessed he feels

from Garrison Keillor: The Writer's Almanac: Having Confessed by Patrick Kavanagh

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Middle-Age
by Pat Schneider

The child you think you don't want

from Garrison Keillor: The Writer's Almanac: Middle-Age by Pat Schneider

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Peaches or Plums
by Alan Michael Parker

Oh, how I hate my mind,

from Garrison Keillor: The Writer's Almanac: Peaches or Plums by Alan Michael Parker

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Winter Afternoon
by Grace Paley

Old men and women walk by my window

from Garrison Keillor: The Writer's Almanac: Winter Afternoon by Grace Paley

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Great Regulars: The last part of Warhorses is a long poem ingeniously

titled "Autobiography of My Alter Ego," crafted out of matching half-lines like a call-and-response. The life described is both the poet's and not the poet's. A grandfather tells the poem's speaker, "Boy, you/were born one hundred steps/ahead of many. You/inherited the benefit of a doubt." As a poet of supreme sensitivity--that vibrating membrane--it has been [Yusef] Komunyakaa's fate to experience the extreme violence of race, of war, and of love, and to survive them all, heavy with the measure of those who are dead, making songs that are potent and comprehensive.

from Karl Kirchwey: The Philadelphia Inquirer: Poems vibrating with war, love

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Great Regulars: The poem's argument was as hard to remember

as its language; it dissolved at once into the circumambient solemnity. [Elizabeth] Alexander has reminded us of what Angelou's, Williams's, and even Robert Frost's inauguration poems already proved: that the poet's place is not on the platform but in the crowd, that she should speak not for the people but to them.

from Adam Kirsch: The New Republic: The Plank: Adam Kirsch on Elizabeth Alexander's Bureaucratic Verse

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Great Regulars: I'd guess that most of us carry in our

memories landscapes that, far behind us, hold significant meanings for us. For me, it's a Mississippi River scenic overlook south of Guttenberg, Iowa. And for you? Here's just such a memoryscape, in this brief poem by New Yorker Anne Pierson Wiese.

Inscrutable Twist

from Ted Kooser: American Life in Poetry: Column 199

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Great Regulars: Standing in the Great Hall and gazing upward

is like finding yourself inside a Fabergé egg. If great thoughts--not just the idle reflections of the moment, but the really big ideas--could take physical shape, this is probably what they would look like. The sensation you feel is one of mental levitation--like wisdom, only more exciting.

from Charles McGrath: The New York Times: The Great Library Jefferson Began, and How It Grew

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Great Regulars: Let us do more than have an inaugural poem

or try to get a job in the new NEA. Let every office of everything have a poet in residence. Let poets work on policy language. Let poetry guide us into a world driven by empathy, and yes, generosity; a lyrical, toughly truthful, multilingual world in which we can hear the clams, the porcupines, the worker who hasn't had a break since he or she can remember, and the children who've been told to keep quiet. [--Kathy Engel]

from E. Ethelbert Miller: Foreign Policy in Focus: Fiesta!: Interview with Kathy Engel

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Great Regulars: But until the appearance of The Lost Leader,

no one could know the scale of the project he [Mick Imlah] had undertaken. The book turned out to be nothing less than an account of the matter of Scotland, from pre-literate beginnings to recent times--including, towards the end, some very beautiful poems about his partner and young family. Its ambition is completely matched by its technical skill--everything from blank verse to hexameters. Its reinvention of 19th-century forms and tones is compelling. Its ironies are engrossing.

from Andrew Motion: The Guardian: The week in books

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Great Regulars: Political obsessions marked Byron's last years

as he moved from Ravenna to Pisa to Genoa, often followed by the countess. His death came, famously, on a self-financed military expedition in support of Greek independence from the Ottoman empire. He died in mid-flight, as it were, a legendary figure whom [Edna] O'Brien describes as "the embodiment of Everyman, human, ambitious, erratic, generous, destructive, dazzling, dark and dissonant". But in what sense do these adjectives embody Everyman?

from Jay Parini: The Guardian: The rake's progress

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But the poem of his [W.D. Snodgrass's] that has stayed with me for decades, and sounds in my head at least once a week, is "April Inventory". It's spoken by a college teacher who sees his life passing before his eyes, looking wistfully at his circumstances:

Though trees turn bare and girls turn wives,
We shall afford our costly seasons;
There is a gentleness survives
That will outspeak and has its reasons.
There is a loveliness exists,
Preserves us, not for specialists.

The tone here is so idiosyncratic and yet so perfectly in touch with its moment, with its linguistic environment, that one reads and recites, again and again, satisfied and thrilled.

from Jay Parini: The Guardian: W.D. Snodgrass's last walk through the universe

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Great Regulars: Last Robot Song

by Robert Pinsky

from Robert Pinsky: The New Yorker: Last Robot Song

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Great Regulars: [by Michael Rosen]

In Gaza, children,
you learn that the sky kills

from Michael Rosen: Foreign Policy in Focus: Fiesta!: Poem: 'In Gaza'

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Great Regulars: The eye itself is one of her [Martha Kapos'] archetypes,

and its strange appearances and movements have a surreal, Picasso-esque effect. In "Portrait from Memory", "You sit in what remains/of an eye"; and in "The Concise History of Art", an eye, presumably the artist's, "goes barefoot". The most astonishing "eye" is the one that "goes about fast and far-flung" in "Lost in South Devon": "Shining black from last night's rain/your eye walks out abundantly in leaf/along a branch, dwindles/to a narrow stem then disappears/into any tight slit of sky/the green shade lets you through."

from Carol Rumens: The Guardian: The fast and far-flung eye

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Though the diction is informal and modern, the rhyme, rhythm and refrain underpinning it seem to me a little like those ancient stones that have endured so long, and may still make strong and beautiful 21st-century walls.

"The Unaccommodated" is from Anne Stevenson's Poems, 1955-2005 (Bloodaxe Books). She has also published with Bloodaxe a critical book, Five Looks at Elizabeth Bishop. Her most recent poetry collection is Stone Milk. Grateful thanks to the publishers and to Anne Stevenson for permission to reproduce "The Unaccommodated".

The Unaccommodated

from Carol Rumens: The Guardian: Books blog: Poem of the week: The Unaccommodated

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Great Regulars: For all its pomp and circumstance,

the first writer's inaugural didn't exactly set the world of words on fire. First, there was the address by President Obama, which, while refreshingly tough-minded, lacked the soaring rhetoric for which he is known.

Then, there was "Praise Song for the Day," a poem commissioned for the inauguration and written and delivered by Elizabeth Alexander, a Yale professor and author of five collections of poetry, including the 2006 Pulitzer Prize finalist, "American Sublime."

from David L. Ulin: Los Angeles Times: Inaugural poem is less than praiseworthy

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In a recent essay in the Nation, William Deresiewicz argued that the NEA has played into the tendency of so-called literary mandarins--the critics and scholars--to see themselves as "the Last of the Readers," an embattled cultural elite. His response to the 2002 survey's finding that "only" 96 million American adults engaged in literary reading? "Ninety-six million American adults engage in literary reading!"

In other words, there's a whole lotta reading going on.

from David L. Ulin: Los Angeles Times: The NEA's take on reading

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Great Regulars: If there's a problem with a book like this,

it's how one thing can lead to another. And another. A blurb on the back cover asks, "Who wished he had invented blue jeans." I didn't know, so I looked it up (under blue in the index). I'm not going give away who it was, but he also said something much more mysterious: "I don't really like knees."

from Frank Wilson: When Falls the Coliseum: That's What He Said: You can quote it

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Great Regulars: by James Brandenburg

In the valley of the sun

from Express-News: Poetry: 'Voices de la Luna'

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Great Regulars: While working as an editorial assistant

at Burton's Gentleman's Magazine in 1839, he [Edgar Allan Poe,] wrote and sold "The Fall of the House of Usher" to the magazine. He then published a two-volume collection of stories, "Tales of the Grotesque and Arabesque," but received none of the profits.

from findingDulcinea: Happy Birthday: Edgar Allan Poe, Poet and Master of the Gothic, Mystery and Horror Genres

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Peter Mark Roget had far-ranging passions and hobbies. He was a philologist, a doctor, a teacher, an inventor and a chess aficionado. Roget improved on the kaleidoscope and made important contributions to the science of cinema. He helped found the University of London and the Society for the Diffusion of Knowledge, but arguably his most memorable contribution is his thesaurus.

from findingDulcinea: Happy Birthday: Peter Mark Roget, Compiler of Roget's Thesaurus

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Great Regulars: Donald Marlowe Lobner is a local resident

and self-proclaimed "simple farm boy" began his serious obsession with writing poetry in July 2000 when he wrote his first poem to his sweetheart, Miss P. He continues to write and to be obsessed.

Flannel and Silk

from Good Times Weekly: Poetry Corner: All the Lobners

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Great Regulars: Until recently, Roz Spafford taught writing

at UC Santa Cruz. She also wrote book reviews as well as a column, called Mediations, for local and regional newspapers. She now lives and writes in Canada. Her first book, 'Requiem' received the 2008 Gell Poetry Prize. The following poems are from The Gospel According to Mary, the center section of 'Requiem,' published by Big Pencil Press (the publishing imprint of Writers & Books) in 2008.

Mother of the Disappeared

from Good Times Weekly: Poetry Corner: Excerpts from Roz Spafford's 'Requiem'

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Great Regulars: No snow fell on Eden

by Jen Hadfield, winner of the TS Eliot prize 2008, announced this week

from The Guardian: The Saturday poem: No snow fell on Eden by Jen Hadfield
also The Guardian: Jen Hadfield: An ode to the fish factory

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Great Regulars: Earring

by Ales Steger translated by Brian Henry

The whole time he tells you what to do.

from Guernica: Poetry: Earring

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Great Regulars: [by Marie Asner]

the trail was known only to us

from The Kansas City Star: Between the Lines: 'By the Kaw' poem by Marie Asner of Overland Park

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Great Regulars: First Idyll

by Susan Stewart

from The New Yorker: Poetry: First Idyll




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It Must Have Been the Spirits
by C.P. Cavafy

from The New Yorker: Poetry: It Must Have Been the Spirits




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