poetry - Carolina Caliaba on Diigo

20 Oct 09

instead of say, the Beats, and, here in Australia, John Tranter’s fabricated ‘generation of 68', or New York school or Language poetry, post graduate and undergraduate poetry writing students and beginners are reading Romantic and Victorian poetry again? Certainly a lot of pre-1950s poetry seems to be emulated by the younger generation here. Abounding as it is, not all of it lifts off. Kris Hemensley called these poets "exponents of a fastidiously constructed and polished lyricism current now in new Australian poetry."
Kenneth Slessor prize for poetry in the 2009 New South Wales premier's literary awards:

XYZ’s book…. “is a wonderful example of the power of the lyric to

slow time down to intense, expanded moments of seeing and feeling.In measured poems of decorum and grace, XYZ weighs beauty against terror, art against the unspeakable, love against death. The exquisite music of these poems comes from a perfect mastery of form that is never content merely to deploy traditional templates like the sonnet or the sestina, but converts them into something that is contemporary, arresting and XYZ’s own.”
20 more annotations...
- XYZ wears his/her learning lightly, gracefully: Galen (Wikipedia - a Greek physician & philosopher AD129 - but you knew that didn’t you?), Donne, Shakespeare, Kristeva, Primo Levi, Althusser – all cohabit harmoniously in a language and form that is intricate and sinuous.”
- In total effect, the book has a wonderfully coherent feel to it, as inexpressible truths are intuited or glimpsed rather than overtly stated.”
- Basically, the poetry is described in ordinary literary terminology and then approved (or, in one case disapproved and publicly edited by the reviewer) descriptively. Three of the titles here are, among other positive quality-superlatives, "impressive, fine, ambitious, finely crafted, highly accomplished with meticulously considered lines, tonal power, sustained rhythms
- How much does the concept of the new Aussie lyric have to do with formalism?
  
  How different is this new Aussie lyric from the earlier notion of lyric as an instrument of personal expression?
- Could the new lyrical engage with notions of authenticity (originality/faking), appropriation (copying) involving the persona of the poet ?
- they seem to completely ignore the unconventional and outright weird elements in a lot of the poetry and just come away with a kind of boring lowest common denominator poetic.
- one problem with crafting is that once the poem has reached a certain state of craftedness it convinces the poet that its good - when they might have been better off putting their energy into a new poem .. theres also the question of whats being achieved .. if its verisimilitude, i think thats a mistake
- Elizabeth Bishop was right when she said in an angry letter to Lowell that she would rather be the fourteenth best American poet than the best ‘female poet’.
- And why does it have to be Australian? For instance, a poet like Judith Bishop seems to me to have more in common with Jorie Graham (and at times even European poets like Celan) than with other female Australian lyric poets; likewise, I know that in my own work I am responding largely to the work of the American poets I grew up reading rather than the generation of ’68 which I read relatively late (and enjoyed) but who have had little tangible influence (reactionary or otherwise) on my own poetics
- the interest in the lyric lies in its often uncanny address and its origins in music. Indeed, as far as I am concerned, the defining characteristic of the lyric is its apostrophe, and therefore its potential to elide time and history with the intimacy of its address.
- I am also disappointed that recent reviews in the ALR (does two make a trend?) have been grouping female poets (or should I say poetesses?) for no other reason than, well, they are female.
- gnoring all the weirdness of the Rom and Vic eras: think of Dickinson and EB Browning) can produce poems that strain towards a kind of historically-sedative acceptability
- In such works, ‘representation’ applies equally to museum-piece versions of literary eras, and to a (fake) transparency between world and voice (or reality and vision, to riff on some of those judging comments). Michael hints at this with the word ‘verisimilitude’.
- they generate very careful objects, highly controlled objects, where ‘form’ goes little further than ‘surface aesthetic’. Form as a tidy-all. Of course, the most exciting poems are ALL about form
- eople still get cranky when asked to explore the relationship between words, ideas and things. Some writers will never see a poem AS a thing, or as an object of art, subject to the currents of social and economic value. Frankly I find such textured readings exhilarating, not scary or academic. Why? Because they give poetry more options. And many more players. If a poem can be lots of different things, then I’m interested.
- then it’s quite possible people will begin to reject a politics of difference and departure, in favour of an art of sameness and arrival.
- Enter: the good ol’ polished lyric, hammered out under the eyes of the mentor, who is interested (consciously or not) in legitimating their own lineage. The model of powerful mentor and multiple acolytes has been reproduced dozens and dozens of times in poetical history
- a distinction between sincerities, if you will. I was thinking of George Oppen and his kind of sincerity, one that was open to the social and political, as having a social consciousness, as opposed to a ‘trust me as I express my true feelings’ kind of approach to sincerity.
- Zukofsky wrote that sincerity is the expression, posture or intent behind a poetics attuned to the "accuracy of detail" or that that "writing occurs which is the detail, not mirage, of seeing, of thinking with things as they exist". So, I take it he is talking about the ‘now’.
- There'll always be people younger and smarter than you who will sometimes make you feel a bit of a retard. Then again there are always people who seem to want to reinvent the wheel (or pretend the wheel never happened - like they do over here in the UK).

19 Oct 09

Poetics Talks

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28 Sep 09

YouTube - Forgetfulness - Billy Collins Animated Poetry

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poetry us literature old olvido memory animation

22 Sep 09

YouTube - The Dead - Billy Collins Animated Poetry

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06 Sep 09

At the Fishhouses - Poets.org - Poetry, Poems, Bios & More

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Elizabeth Bishop poetry 20 century epistemology old

There are sequins on his vest and on his thumb.
He has scraped the scales, the principal beauty,
from unnumbered fish with that black old knife,

24 Aug 09

Letras en Línea

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mythology William Butler Yeats Rainer Maria Rilke poetry adaptation metamorphosis

23 Jun 09

About.com: http://www.eng.fju.edu.tw/English_Literature/poetry_modern/2nd_coming/2dcoming.htm

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collage book covers William Butler Yeats modernism poetry

"The Second Coming" and "A Vision"

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William Butler Yeats poetry analysis poetic estética history

Yeats had written in 1900 that: ‘It is only by ancient symbols, by symbols that have numberless meanings besides the one or two the writer lays an emphasis upon, or the half-score he knows of, than any highly subjective art can escape from the barrenness and shallowness of a too conscious arrangement, into the abundance and depth of Nature. The poet of essences and pure ideas must seek in the half-lights that glimmer from symbol to symbol as if to the ends of the earth, all that the epic and dramatic poet finds of mystery and shadow in the accidental circumstances of life’ (‘The Philosophy of Shelley’s Poetry’, E&I 87).

22 Jun 09

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poetry book covers flower

Poets reveal the strangest places they've 'done it' | Books | guardian.co.uk

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festival special occasion poetry

19 Jun 09

Eliot, T. S. 1922. The Waste Land

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ts eliot poetry modernism

—Yet when we came back, late, from the Hyacinth garden, Your arms full, and your hair wet, I could not Speak, and my eyes failed, I was neither Living nor dead, and I knew nothing, 40Looking into the heart of light, the silence.
Here is the man with three staves, and here the Wheel, And here is the one-eyed merchant, and this card, Which is blank, is something he carries on his back, Which I am forbidden to see.
21 more annotations...
- Unreal City, 60Under the brown fog of a winter dawn, A crowd flowed over London Bridge, so many, I had not thought death had undone so many.
- 'That corpse you planted last year in your garden, 'Has it begun to sprout? Will it bloom this year? 'Or has the sudden frost disturbed its bed? 'Oh keep the Dog far hence, that's friend to men, 'Or with his nails he'll dig it up again! 75'You! hypocrite lecteur!—mon semblable,—mon frère!'
- In vials of ivory and coloured glass Unstoppered, lurked her strange synthetic perfumes,
- 'I shall rush out as I am, and walk the street 'With my hair down, so. What shall we do to-morrow? 'What shall we ever do?'
- And if it rains, a closed car at four. And we shall play a game of chess, Pressing lidless eyes and waiting for a knock upon the door.
- It's them pills I took, to bring it off, she said. (She's had five already, and nearly died of young George.)
- Good night, ladies, good night, sweet ladies, good night, good night.
- THE river's tent is broken: the last fingers of leaf Clutch and sink into the wet bank. The wind Crosses the brown land, unheard. The nymphs are departed. 175Sweet Thames, run softly, till I end my song. The river bears no empty bottles, sandwich papers, Silk handkerchiefs, cardboard boxes, cigarette ends Or other testimony of summer nights. The nymphs are departed. And their friends, the loitering heirs of city directors; 180Departed, have left no addresses. By the waters of Leman I sat down and wept... Sweet Thames, run softly till I end my song, Sweet Thames, run softly, for I speak not loud or long. But at my back in a cold blast I hear 185The rattle of the bones, and chuckle spread from ear to ear.
- On a winter evening round behind the gashouse 190Musing upon the king my brother's wreck And on the king my father's death before him.
- One of the low on whom assurance sits As a silk hat on a Bradford millionaire.
- Endeavours to engage her in caresses Which still are unreproved, if undesired.
- (And I Tiresias have foresuffered all Enacted on this same divan or bed; I who have sat by Thebes below the wall 245And walked among the lowest of the dead.) Bestows on final patronising kiss, And gropes his way, finding the stairs unlit...
- O City city, I can sometimes hear Beside a public bar in Lower Thames Street, 260The pleasant whining of a mandoline And a clatter and a chatter from within Where fishmen lounge at noon: where the walls Of Magnus Martyr hold Inexplicable splendour of Ionian white and gold. 265
- A current under sea 315Picked his bones in whispers. As he rose and fell He passed the stages of his age and youth Entering the whirlpool. Gentile or Jew O you who turn the wheel and look to windward, 320Consider Phlebas, who was once handsome and tall as you.
- He who was living is now dead We who were living are now dying
- If there were the sound of water only Not the cicada And dry grass singing But sound of water over a rock
- Who is the third who walks always beside you? When I count, there are only you and I together 360But when I look ahead up the white road There is always another one walking beside you Gliding wrapt in a brown mantle, hooded I do not know whether a man or a woman —But who is that on the other side of you?
- The jungle crouched, humped in silence.
- We think of the key, each in his prison Thinking of the key, each confirms a prison
- The sea was calm, your heart would have responded 420Gaily, when invited, beating obedient To controlling hands
- These fragments I have shored against my ruins

18 Jun 09

The Book Design Review

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Orsai: La noche de los maníes (230)

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14 Jun 09

Federico García Lorca: Pequeño Vals Vienés

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españa poetry leonard cohen music lyrics

18 May 09

Magnum Photos - Slate

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portraiture poetry Photography

08 May 09

YouTube - Funeral Blues-4 Weddings & a Funeral (leg.port.)

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04 May 09

Asi se fundo Carnaby Street: historia de la poesia española del siglo XX contada en dos minutos (version 2.0)

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vanguardia españa poetry

El lenguaje cambia de dueño en el poema. Si el habla, aún sorprendiéndonos, nos puebla a todos bajo la raíz común de la comunicación cotidiana, el idioma se hace singular y único en la poesía, con la voz poética. La máxima aspiración del poeta es crear su propia voz, singularizar el lenguaje de tal forma que el verso sea capaz de levantar los cimientos de un mundo nuevo.
En fin, que a la palabra rota del experimentalismo le sucede el extraño juego de la semántica.
1 more annotations...
- José Angel Valente, que ha sido incluido de manera aleatoria en esa generación, trasciende el hecho comunicativo, o más bien se aprecia en el conjunto de su obra el paso del acto de comunicar al acto de trascender el lenguaje. De su libro A modo de esperanza [1954] a No amanece el cantor [1992] el poema se vuelve ontológico. Valente rompe la palabra para sublimarla en los misterios de la mística. No hay vanguardia en sentido estricto, sino la voluntad de recuperar la palabra de la tribu, el origen.

08 Apr 09

Flickr Photo Download: Poets Dinner Table

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poetry Creative Writing

27 Mar 09

Stephen Mitchell Books

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Rainer Maria Rilke poetry translation transience trascendence art german

For beauty is nothing

but the beginning of terror, which we still are just able to endure,

and we are so awed because it serenely disdains

to annihilate us.
and already the knowing animals are aware

that we are not really at home in

our interpreted world.
13 more annotations...
- Oh and night: there is night, when a wind full of infinite space
  
  gnaws at our faces.
- Is it any less difficult for lovers?
  
  But they keep on using each other to hide their own fate.
- Fling the emptiness out of your arms
  
  into the spaces we breathe;
- Yes — the springtimes needed you. Often a star
  
  was waiting for you to notice it. A wave rolled toward you
  
  out of the distant past, or as you walked
  
  under an open window, a violin
  
  yielded itself to your hearing. All this was mission.
- Weren’t you always
  
  Distracted by expectation, as if every event
  
  Announced a beloved?
- But when you feel longing, sing of women in love;
  
  for their famous passion is still not immortal
- Remember: the hero lives on; even his downfall was
  
  Merely a pretext for attaining his final birth.
- so that
  
  gathered in the snap of release it can he more than
  
  itself. For there is no place where we can remain.
- But listen to the voice of the wind
  
  and the ceaseless message that forms itself out of silence.
- no longer to be
  
  What one was in infinitely anxious hands; to leave
  
  Even one’s own first name behind, forgetting it
  
  as easily as a child abandons a broken toy.
- Strange to no longer desire one’s desires. Strange
  
  to see meanings that clung together once, floating away
  
  in every direction
- Though the living are wrong to believe
  
  in the too-sharp distinctions which they themselves have created.
- s the legend meaningless that tells how, in the lament for Linus,
  
  the daring first notes of song pierced through the barren numbness;
  
  and then in the startled space which a youth as lovely as a god
  
  had suddenly left forever, the Void felt for the first time
  
  that harmony which now enraptures and comforts and helps us.

25 Mar 09

::: wood s lot ::: "the fitful tracing of a portal" - Page2RSS

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poetry colour Cesar Vallejo bilingual edition

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Poetics Talks

Poetics Talks

YouTube - Forgetfulness - Billy Collins Animated Poetry

YouTube - The Dead - Billy Collins Animated Poetry

At the Fishhouses - Poets.org - Poetry, Poems, Bios & More

Letras en Línea

About.com: http://www.eng.fju.edu.tw/English_Literature/poetry_modern/2nd_coming/2dcoming.htm

"The Second Coming" and "A Vision"

poesia pedro salinas on Flickr - Photo Sharing!

Poets reveal the strangest places they've 'done it' | Books | guardian.co.uk

Eliot, T. S. 1922. The Waste Land

The Book Design Review

Orsai: La noche de los maníes (230)

Federico García Lorca: Pequeño Vals Vienés

Magnum Photos - Slate

YouTube - Funeral Blues-4 Weddings & a Funeral (leg.port.)

Asi se fundo Carnaby Street: historia de la poesia española del siglo XX contada en dos minutos (version 2.0)

Flickr Photo Download: Poets Dinner Table

Stephen Mitchell Books

::: wood s lot ::: "the fitful tracing of a portal" - Page2RSS

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