Check it out. Similar to the popularity of “the body” in poetry today, the idea of “incarnational ______” (fill in the blank) is quite hot in Christian theology as well.

In their second conversation, Mark Halliday and Allen Grossman attempt to answer the question “Where are we now in the history of poetry?” I figured I’d highlight a few of the most interesting takes on poets of the last hundred years. I want to then use it as the basis of a discussion on the relation of past poetry (and other art) and its relation to the present situation of poetry. Overall, there is a rather nice arc that Grossman paints… On the “high moderns” (Yeats, Eliot, Pound, Stevens, and I think he later includes Crane): [They] used up the idea of greatness or implicated that idea in complex ways with aspects of civilization…that produced the Second World War….Poetry was not helping us learn how to live because the High Moderns…set poetry against life. They seemed to have established the outcome of poetic enterprise outside of life in unreachable transcendentalisms [...]

Today I thought I should add my secret voice to your evaluations. Your intelligence may be genius, but remember as my mother said also always be nice. A seventh grade teacher consoled me when I was teased: You can always tell the genius by the enemies who surround him. Try, though it’s impossible. See JA. Make no enemies. Well, you’ll always have aesthetic enemies just by liking something “they don’t.” But I’ve noticed even one personal enemy is too much in the tiny circle of Prospero’s Kabbalah. You impress me and you’re so young, so you have I think one task: Go on! Keep working, and keep your opinions growing widening and changing. One day love Chatterton. The next day read Villon. One month give up to Proust, one year give up to Kafka. Pound’s big canon is correct: Be curious like a physical scientist (Aggazis for Pound). Keep your [...]

If I am anything at all, I am a vaudevillian. Considering that vaudville has been stone dead the last 80 years, that’s a hard thing to be, but wouldn’t you want to attend a reading where, first, someone read Elizabeth Bishop’s “One Art” beautifully, followed by a white poodle jumping through a fiery hula hoop, then a great tap dancer, and then a good torch singer doing “Strange Fruit,” topped off by a rousing version of Etheridge Knight’s “All Fucked Up”? Hell, I would, and this either means I have no aesthetic boundaries whatsoever, or that I prefer, during the course of performance, to do what Ashbery does in a poem: let the flow take me where it will, live in the process and variety of consciousness rather than in some fully set and determined structure. Now it would be even more fun if the poodle held the fiery hula [...]

Sometimes when I happy get I turn on my television set and disappear into its glow like a pixelated crow I flap my wings so pure and black and feel like there’s no going back inside the tube I’ll stay forever consider thrown the simulacrum lever if my mother comes home and turns it off at her love I’ll scoff happy on my own terms you see like a Titleist balanced on a tee waiting for the coming thwack to send me into orbit’s knack for spinning guests in skyward order free I am a floating boarder everywhere I go I smile I see my reflection in bathroom tile my grin it gleams with the purity of creams freshly descended from the cow of bacon from the virgin sow who snorts and oinks as I come close we are friends the farmer knows and so he waves as I walk [...]

Sunday evening I encountered this artifact created out of the weekend’s leftovers. I had been showing family around who had never been nyc before. That meant three miserable days of walking in the rain while forcing myself to be cheerful. This stream or river or rainbow or spittle-barf of umbrellas was an affirmation to me of whats most at stake in being conscious, (which could be described very quickly, I guess, as a reaction). Whoever made this left no trace of themselves nor stuck around to explain. Less is almost always more. I love you, whoever made this, for that. Related posts: better late SONNETS by Bernadette Mayer A Preface to a Blog: Auguries of Experience Accident and Inspiration: Waking up from a Comma

When I was 19 I interned at The Bowery Poetry Club. I can tell you that I didn’t get much done in the way of writing press releases; I was there to experience poetry. I was there to meet the real live poets who didn’t seem to exist on my college campus. I attended a private Long Island university where writing poetry meant none of the business student boys wanted to date me and most of the frat guys thought a stanza was a complicated version of the keg stand. Therefore, at The Bowery Poetry Club, I thought I was going to find what I was looking for: Poets Who Took Poetry Seriously. Performers with names like Lovely Lazarus and Serenity Divine would grace the stage in mismatched outfits and dirty hair and then proceed to swoon the entire audience with a kind of audible beauty I imagine the Sirens [...]

Poetry Blog is looking for experienced book reviewers to blog about new contemporary poetry titles. Over the course of the next few weeks, we’ll be updating our review copies list from national poetry presses. If you’re interested in writing a review, write us an email and let us know. [email protected] Currently, up for grabs: CHRISTOPHER SUNSET, Geoffrey Nutter, 2010 SELECTED POEMS, Dara Wier, 2009 SUNNY WEDNESDAY, Noelle Kocot, 2009 Related posts: “The Sweetness of Herbert” by Stuart Krimko Three Poems and an Interview with Ben Mirov better late Some Books on My Mind, or {Potential} Purchases of Imperishables Golden Splinter

How does one choose which poem should be first in a manuscript? Ben Lerner’s new book, , begins with something resembling a love poem. Joshua Beckman’s latest book, , which I’ve been enjoying lately , uses a kind of apostrophe: Dear Angry Mob, Oak Wood Trail is closed to you. We feel it unnecessary to defend our position, for we have always thought of ourselves (and rightly, I venture) as a haven for those seeking a quiet and solitary contemplation. We are truly sorry for the inconvenience…. This is fairly witty–simply to put a short little charmer of a poem out front to ease the reader in–but it also overdetermines my reading of the first few pieces that follow. Then again, where else could such a poem go but at the beginning? I’m at a loss. Today’s question: How should books begin? A Study in Fixation All the People of [...]

This is not my first year of teaching high school English, but it is my first year teaching at one of Portland, Oregon’s lowest-achieving high schools. There is much to say about my students’ backgrounds that might explain their sub-standard reading and writing: they come from a variety of places, including the mountains of Southeast Asia, refugee camps in Africa, former Soviet republics, Pacific Islands, etc; the neighborhood culture is, in general, one of generational poverty, which means that many students lack good role models and education-minded guardians at home (or they transfer to other schools in the district, as more than half of the neighborhood’s students have done based on their No Child Left Behind right to attend successful schools); a lack of steady educational funding and organizational constitution has created tremendous instability in this particular school in recent years; and this list of could go on forever. But [...]

Above is painter Sean McElroy’s “So Just Be It.” I have known Sean a long time, and I admire both his art and intellect. I was reminded of his work yesterday as I settled down with Ben Lerner’s new book of poems, Mean Free Path (Copper Canyon Press, 2010)—a book I’ve been excited to read since, well, Lerner’s last book of poems. If I tried to say too much about these paintings and poems, I’m sure my reach would exceed my grasp, so to oversimplify I’m trying to tell you that Lerner’s new poems and McElroy’s paintings are interesting because of their appropriations of geopolitics, war, pop culture, the lexica and imagery we take for granted—I’m trying to say they get me really worked up in my thinking about our world. Below is a Lerner stanza that reminds me of a McElroy painting: All these flowers look the same to [...]

“Growing up in the environment where any notion of gay sex was immediately associated with danger, I learned from the early age how to make the best of it and even enjoy it. I’m not a vanilla person and I’m not into vanilla sex, so naturally role-play and various fetishes are a big part of my aesthetics.” “GET YOUR VILE TENTACLES AWAY FROM ME! – I whispered, surrounded by cretins and fuckheads. — I KNOW WHAT I’M DOING!!! I AM TREASON!!! INFIDELITY IS MINE!!!!” “They say that in order to become a real artist you have to kill your parents. I’ve always had a love-hate relationship with my family in general and my Dad in particular. I did a lot of things in order to overcome the complexes that my parents planted into my mind. I haven’t talked to my father in years, but recently he was interviewed for a [...]

In 1977, Bill Berkson and Bernadette Mayer began a kind of interview correspondence where with they exchanged questions and answers on a variety of topics. This mutual interview continued well into the mid-80s (and still continues intermittently between Berkson and Mayer today). A book on their letters, questions, and answers titled: What’s Your Idea of a Good Time? was published a few years ago (you can find it on amazon and Alibris). I recommend it for Bill and Bernadette’s incendiary answers, of course, but also for the questions posed (great material for cocktail parties, I might add). Often the questions one asks can be more revealing than their answers. Here are some questions posed in the collection. I invite people to respond and pose questions of their own. What’s your idea of a good time? What does distance mean, in poetry? Are poets “normal”? What is luck or blessedness? Is [...]

I. I assemble flapping into a mechanical bird. I replace the breathing ones with stuffed ones and suffer an applause of wings. Reach between the roost to feel compressed as they look. And O hovering ellipses: our hands cannot suppress the unbelievable synchronization of bee wing and lawn mower. We enter a playing field: molecules of water vs. molecules of water. We construct viable diagrams of living: a reversible motor heart. We test drive baby palates and consider them unsuitable for the farm. Inside each of us, three small red cells break in half until we cocoon in jars and wait to be watched. We prepare for peoplery: fall into pitch with darkness. Photograph after photograph we freeze images of a bullion cube dissolving. Skip death by lining the trees with ornaments of plastic bags. I assemble the deli counter into a whelping box and we all breed unanimously in [...]