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...moreWhat does it mean to be carried away? To be captured, carried off, liberated? To lose control of oneself? Lerner doesn’t show concern for questions like these. More generally, The Hatred of Poetry takes little interest in the rarities of technique across a poet’s body of work and avoids questions about his or her sense of history.
There’s a way in which poets are always ahead of their time, if they’re good enough to be universal. At The Poetry Foundation, Alexandra Pechman describes how Marianne Moore’s poetry was always in play, never finished or frozen:
...more“Her habits of research and revision presaged the far-reaching sourcing and pliability that defines writing made in the age of the Internet… versions of her poems are myriad.”
It’s Women’s History Month at the Poetry Foundation. The editors peg Elizabeth Bishop’s poems—in volumes with titles like North & South, Questions of Travel, Geography III—to her wide-ranging geography, and to her illustrious cohort.
...moreThe fatal problem with poetry: poems.
At the London Review of Books, Ben Lerner discusses the difficulty of memorizing Marianne Moore’s “Poetry” and how every failed poem is actually what makes poetry successful as a whole.
...moreNew audio preservation technology just opened a treasure trove at Harvard: thousands of recordings of influential poets reading their work, once feared too deteriorated to salvage, are now being recovered. As WBUR reports, the IRENE program takes high-res 3D photographs of old records deemed too fragile to play with an ordinary needle, which can then be digitally converted into audio without the risk of damaging the original vinyl.
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A review of Micrographia
People don’t read enough, and when they do, they don’t ask the questions of themselves that Micrographia demands.
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