Can Poetry Save America by Chard DeNiord
CAN POETRY SAVE AMERICA? Czelaw Milosz, the twentieth century Polish poet and Nobel laureate who became a U.S. citizen in 1970, published a poem titled “Dedication” in 1946 in which he wrote, “What is poetry which does not save Nations or people?/ A Contrivance with official lies.” In acknowledging poetry as an art with the power to save nations, Milosz
In Memorium: Peter Everwine — 1930 – 2018: written by Christopher Buckley
In Memorium: Peter Everwine — 1930 – 2018 Peter Everwine died in his home in Fresno, CA during the night Oct. 27. He had been active, happy, and healthy, and recently had given a reading of his new poems to an enthusiastic audience in a local series. Everwine was one of the most accomplished and valued poets and translators writing
Aldon Nielsen: White Mischief Redux
I’ll confess at the outset that, despite my intense interest in contemporary poetries, the name of Anders Carlson-Wee was utterly unknown to me before the day I saw his excited post on social media celebrating the fact that one of his poems was to be published by The Nation. Had his name been known to me, I would never have
Piotr Florczyk: The Milosz Festival
The Miłosz Festival, which takes place in the city of Kraków over four days during the second week of June each year, prides itself on being the largest event of its type in East-Central Europe. However, its size—how is it calculated? —has nothing to do, in my view, with its quality.
Marc Scroggins Why Swinburne? (An Open Letter)
Why Swinburne? (An Open Letter) Dear B——, The other night at the bar, when I had just gotten in from the street and we had barely started the first round, you asked, “Why Swinburne?” The long version of that question might go something like this: “You’re a poet who looks to J. H. Prynne and Susan Howe as lodestars; you
Alexander Dickow: Poetry, Sentimentality, and the Laugh Track Compulsion
Poetry, Sentimentality, and the Laugh Track Compulsion The Anglo-Saxon world – many would say mercifully – never brought forth anything quite like Alphonse de Lamartine. Lamartine’s Méditations poétiques of 1820, a bestseller well beyond anything today’s poets could ever dream of, ostensibly typifies French Romanticism. Virgil Nemoianu has convincingly argued that French Romanticism bears more resemblance to the aesthetically
Robert Archambeau: The Poem in White Space
The Poem in White Space White space comes first, for the poet and the reader. I don’t mean anything as interesting as the idea that poetry exists primarily in the space of whiteness, conceived as a racial identity, as a field dominated (at least in these United States) by white people, white norms, the white past, and white structures
Amish Trivedi: Taylor Swift is a Barbarian or: Stephanie Burt’s Defense of Poetry
Taylor Swift is a Barbarian, or: Stephanie Burt’s Defense of Poetry In November 2017, Cosmopolitan published an interview with Stephanie Burt in which Burt critiqued poems Taylor Swift had included in “magazines” packaged with her latest album, Reputation. In the interview, Burt draws a line between the work Swift does in writing poems and the work that professional poets
T.R. Hummer: The Poet Retires
intr. Of an army, troops, etc.: to fall back or give ground, esp. when confronted by a superior force; to retreat. As a poet, I’ve been a lot of people. I don’t mean that I have written from the perspective of various personae or characters, or even of “heteronyms” in Fernando Pessoa’s sense. I mean that, as a poet, I
Mario Murgia: Gerard Manley Hopkins in Spanish?
What happens, then, when such a unique type of language is transplanted into a completely different linguistic code? In other words, how does the poetry of Hopkins manage to take flight—as vigorously as it does in its “original”—in other languages like, say, Spanish? * In the sonnet “Let me be to Thee as a circling bird …,” Gerard Manley Hopkins
Sally Connoly: Transatlantic Poetics: An Autobiography
Transatlanticism is a rather quaint notion. Outmoded even. the transatlantic traffic between the UK and American that defined twentieth century poetics – the figures of T. S. Eliot and W. H. Auden straddling the Atlantic like some sort of twin Colossus of Rhodes– has, quite rightly, given way to a twenty-first century transnationalism. The approach allows for a far more
