Don Paterson, the leading contemporary Scottish poet, throughout this book cites previous critical studies of the Sonnets (especially those written by Stephen Booth and Helen Vendler), but when he does it’s almost always to differ from them. Did he expect to get applause or even grudging acceptance from literary scholars? I’m not sure. To the task of exegesis and evaluation, Paterson brings neither academic credentials nor a rigorous critical method but instead a sharp mind, some serious homework, emotional engagement with the topic, a willingness to take risks, and the technical experience of a practicing poet. Apart from having written sonnets himself, he has translated (or “imitated”) Rilke’s Sonnets to Orpheus and is the editor of the Faber anthology 101 Sonnets. Clearly he has a partisan interest in the form itself and for that reason alone might want to comment on one of its greatest practitioners. Still, if someone had [...]

I like art museums. I’ve been to the museums and frequented museums in every city I’ve ever spent any time in. Seeing at the Metropolitan Museum of Art in New York was like a religious experience, a moment of revelation, and I saw what I never could have seen in the art book reprints and cheap, dorm room posters of Pollock’s drip paintings. The s at Atlanta’s High Museum are amazing. Toledo has a surprisingly good museum, for a little industrial city, and Portland has some really good examples of American painting, including ‘s Mount Hood, and George de Forest Brush’s including The Sculptor and the King. I got to see ‘s work in Vienna, and discovered and immediately loved ‘s woodcuts in a castle that’s been converted into a museum on the edge of the Bodensee. I worry about museums, though. They can add a seriousness that weighs a [...]

My research currently has me looking into the surrealist-Beats, and I recently read Solitude Crowded With Loneliness. This was Kaufman’s first book, published in 1965, which brought together work from the late fifties that had made him famous, including and Does the Secret Mind Whisper? I am in awe of how completely Kaufman was able to embody a multitude of traditions. His work is absolutely Beat, absolutely jazz/blues and absolutely surreal. He is thinking, living and writing with all three in mind—indeed, all of these “philosophies” were in the very core of his being—and he made them perfectly harmonious, crafting poetry that enacts revolt and social critique at the same time as it heals the primitive, hard-knocked soul. The reader familiar with the Beats will probably sense intuitively that jazz and Surrealism are highly compatible with the Beat ethos and that it makes perfect sense for the Beats to draw [...]

NOTE: This is the third in a series of posts by Colie Hoffman about her experience while a writer-in-residence at Sangam House, India. When I was in grad school, my friend Dave and I used to lift weights at the gym. The undergrad demographics at our university skewed largely male, so naturally, the weight room was populated almost exclusively by beefy, college-age boys. I was usually the only woman there, and Dave, a compact, physically efficient-looking sort of guy no taller than 5’7,” was the only man his size. Technically, we went together so we could help each other work out—but really, we went together for mutual protection. Alone, we’d get stared at. Together, neither of us had to be the only one getting stared at. Or, maybe it felt safer to get stared at together. Or, maybe we just noticed it less. As a foreign woman in India, you [...]

Anthropology, publishing houses in elementary school, estrangement, ants conferencing over Frank Zappa. Morgan Parker describes herself as equipped with the eyes of a surrealist, ears of an ethnographer, tongue of a cynical comedian, and heart of a brooding sixteen-year old. _ _ _ Morgan Parker, Part 1 Morgan Parker, Part 2

NOTE: In this new series, THEthe writers share their first experiences with poetry or discuss the first poems they ever loved. ~~~ My first sense of poetry was music, songs my mother told me taught me, as they say. My father loved to scream Milton at me, so my first memory of my father is: Hurled headlong flaming! Or Disemboweled (the word alone). He also loved to say: Bah Humbug! Or Latin poems: Non amo te nec possum dicere quarere hoc tantum scio. I do not like thee Doctor Fell–my mother read poetry to me at night and my father had the family recite Shakespeare: Be not afeard the isle is full of strange noises. My father and my uncle the pianist were best friends in high school and they both loved to write poems. My uncle was often in the NY Times with a sonnet–my father would test us [...]

Epithalamium with Rust I remember the dream of rust on its own vague terms: dredging the canal as though it were oneself, hoping for trinkets that fix life to a landscape of flowers and trash, and settling for bothering the levee with a stick, notching my time card in the holy city. In the margins of sky and dust­­­­­––distance specific to the dream of distance–– the thought of water comes on like vanity. It is error, as are the certainties of children, to make much of the dumb bend of sun on copper, to heed what God writes in the sand with his pretty little feet. Crows flood from the factory shell and out over trump ground, into the easy marriage of actuality and nothingness that is the long patina of days, drunk on lawn seed and disquiet. I remember it again, but differently. Archipelagos of debris and glow, stars [...]

I don’t usually have an idea in mind when I begin to write. Today, a student looked at me and said: “you haven’t been writing lately, have you?” She was right; at least I have not written poetry. It made me angry that she was right, then oddly comforted because the jig was up and I realized that I didn’t feel much like writing. I felt like watching people catch fish on a winter pier while I wore a long camel’s hair coat and kept my hands in my pockets. I always thought that one of the few reasons I wanted to be tall was because tall people look better in camel’s hair coats. I wanted to look attractively gaunt. Seagulls hovered over head as fisherman threw their remaining bait to them. This desire to be on a fishing pier in winter first came to me as I watched a [...]

Sarah Schweig, neighbor to airfields, estrangement, mythology, imagination, opens up about how she came to be a poet of departures. Pardon my inability to pronounce Catullus. Sarah Schweig, Part 1 Sarah Schweig, Part 2

Rachel B. Glaser is a rule breaker, which is a terrible way to start off talking about this, Pee on Water; bland as more haughty platitudes, but, whatever: when I was reading this book, the most promising short fiction I’ve encountered in near forever — I was, like, What am I going to write on the Internet about this rakish, precious creature; or Where am I going to put, in my understanding, the way this thing makes everything feel, in this room, on this bed, holding these stories, in the world. Two possibilities, in the matter of even figuring out how to open my mouth about it, occurred eventually. One mentions the technical mutant-ness (product of an implicit, albeit devious, acumen) of the book upfront or one’s smitten foremost with the charm, wit, emotional derring-do, hilarious truth, and clever bruises in the thematic treatment of woolliest angles of this human [...]

Dust of Snow Robert Frost The way a crow Shook down on me The dust of snow From a hemlock tree Has given my heart A change of mood And saved some part Of a day I had rued. A student, choosing to write a two page paper on this poem, quoted a critical authority who had managed, by the magic of stupidity, to turn it into a comment on racism. The crow is not described as black, and this apparently, is Frost’s way of saying that such stereotypes are evil. Now how this interpretation could exist is beyond me, but what could the teacher say to the student? The critic is stretching her own agenda beyond all proper bounds? Well, I wasn’t the teacher, so I told him that. I said: “experts can be stupid, too, you know… especially when they are trying to shove everything into their own [...]

This entry is part of a series, Paintings of Poets» Entries in this series: Painting Larry Fagin (Plus a Fagin Poem!) Share this: Related Posts The Lost Painting

A tenth grade student of mine recently commented that he felt anaphora to be a crutch weaker writers use. He didn’t see the point of repeating a word or phrase over and over again, especially if he didn’t agree with that word overall. I couldn’t really agree with him out loud since the entire lesson was built around anaphora, but I didn’t exactly disagree either. Like most poetic devices, anaphora’s strength lies in how its use draws something out of the writer that she might not have otherwise have drawn. In that way I can see how something like anaphora can be seen as a crutch, a way to trick one’s self into writing because they have nothing to write about. Of course, to a young writer like this student, with so much to say about his world, the idea that someone might need to be self-coaxed into introspection might [...]

He’s just a west-coast boy, living in New York City, he took the express train to where good poems reside. I must be tired or going insane, but Josh Bettinger is without a doubt on his game in these five poems—five because he claimed they were all shorties, but it’s not long into the interview that we see how stocky these poems are—look at these guys the wrong way and they’ll tear your face off. Josh mentions this movie trailer several times in part 2, he insists you watch it: . Josh Bettinger, Part 1 Josh Bettinger, Part 2

Mary Karr and Christopher Robinson discuss Thomas Lux’s poem “Tarantulas on the Lifebuoy.”