by Adam Fitzgerald Art
‘Crusoe in England’ was first published in The New Yorker in 1971, then later collected in ‘Geography III,’ perhaps Bishop’s finest single volume of poems. (Only recently I discovered the title of which was suggested to her by John Ashbery. He had found a little geography textbook of the eponymous name, and sent it to her, thinking she’d rather enjoy it. Turns out, she did.)
Tagged as: Bonnard, Christopher Ricks, Crusoe in England, Don Quixote, Elizabeth Bishop, Fairfield Porter, Harold Bloom, Helen Vendler, James Merrill, John Ashbery, Robert Lowell, W.H. Auden
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by Micah Towery Art
We recent poets have two great tools at our disposal: freedom of poetic license, and freedom of publishing. Generally, we can say whatever we want, and get a significant number of people to hear what we have to say. The question is whether this freedom has led to better poetry or degeneration. Perhaps that’s not the best way to put it. The question should be, even if somebody is doing something amazing and new in poetry, would we even see it? Will we travel all this way to find that we really did need the gatekeepers of poetry??
Tagged as: A. R. Ammons, Allen Ginsberg, Allen Grossman, Armond White, Chris Robinson, Chronicle of Higher Education, Confessionalists, Ezra Pound, Film and TV, Hart Crane, John Ashbery, Oxnian Review, Persons, Poetry and Poetics, Post-modernism, Publishing, Robert Lowell, T.S. Eliot, The Sighted Singer, W. B. Yeats
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