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Found 6 results

  1. NBooth

    Neruda

    I hadn't heard of this movie until The Film Stage published their decidedly mixed review: --which review served more to catch my attention than to drive it away, since I actually kind of love I'm Not There and I've enjoyed my share of Neruda's poetry. Here's the trailer:
  2. I hadn't heard of Christian Wiman until Sunday, when I listened to part of Krista Tippett's interview with him. http://being.publicradio.org/programs/2012/remembering-god/ Yesterday, after listening to the complete, unedited interview on iTunes, I walked over to the university library and checked out his most recent poetry collection, every riven thing, and his collection of essays, Ambition and Survival: Becoming a Poet. He's really an inspiring, thoughtful, and well-spoken guy, and his ideas about God and art would probably be of interest to many of you. Bill Moyers has interviewed him too: http://billmoyers.com/segment/poet-christian-wiman-on-love-faith-and-cancer/
  3. Amiri Baraka, controversial author and activist, dies at 79 Here's Slate on the controversy that lost him the Poet Laureate position in New Jersey. I've not read much Baraka, though he has been startlingly present in my life, since I've encountered Dutchman once a year for the past three years (for three different seminars)--an unbelievably spiky and weird play. Three times I've read it, and I'm still not sure I "get" it. Of course, Baraka would probably say I can't get it. [Here's The New Yorker on Dutchman, in a piece linked from the above obituary] I've also read The Baptism, which is twice as spiky and weird as Dutchman. EDIT: For the search function: LeRoi Jones EDIT EDIT: via Biblioklept, here's an interview with Baraka: http://www.youtube.com/watch?v=SHG60P2ECNk EDIT X3: And here's some of his poems. And here.
  4. (A&F link to The Yellow Birds (2012).) I just acquired a copy of this. I can't find too many reviews of it yet though. From what I've read so far, it's still too early for me to form an opinion. But I will say these poems are good. At least for me personally, they are so good that I can't read more than a few of them in one sitting. They hit too close to home. The Guardian: Our conception of "war poetry" is still determined largely by what we know of poetry written during and about the 1914-18 war. Its originality in all senses, its dominance within the school curriculum, its unfading power to move and horrify: these all mean that for a majority of readers, war poetry that isn't about blood, mud and hand-to-hand combat, and that doesn't prove what Owen famously called "the pity of war", either doesn't qualify as war poetry at all, or is an inferior version. Hence the comparative neglect of major second world war poets such as Keith Douglas and Alun Lewis. Hence the tendency to see poems (and prose) about more recent conflicts as being good or less good depending on how they conform to the witnessings of a century ago. Yellow Birds, by the Iraq war veteran Kevin Powers, did pretty well in this respect; despite the unevenness of its style and effects, it won the Guardian first book award among other prestigious prizes. Now comes a collection of poems, Letter Composed During a Lull in the Fighting, which deals with experience similar to that covered in the novel: graphic battle scenes and the attempt to feel "at home" in the aftermath of the conflict. Its lyrics describe a sparsely populated mental landscape and project a jittery sensibility that is hungry for consolation yet removed from most comforts; they are written in choppy free verse that is at once wired and conversational (sometimes to a fault); the whole effort is impressive in its sincerity and virtually unimpeachable in its distress ... Kirkus: ... As is true of so many of the best poems about war—think Randall Jarrell’s “Death of the Ball Turret Gunner” or James Wright’s “Mad Fight Song for William S. Carpenter”—the tone is understated, the affect sometimes unnervingly flat; having seen what he has of combat, Powers can no longer be moved by ordinary emotions, and the language he uses at home is the language of battle: “I tell her I love her like not killing / or ten minutes of sleep / beneath the low rooftop wall / on which my rifle rests.” And just as it is well that, as Robert E. Lee said, war is so horrible lest we come to love it too much, it is good that most books of poems about war, such as this one, are so short, lest we be overwhelmed by the grim news they bring. Powers sometimes wrestles with form, the length of his lines threatening to leave him breathless, but his intent is clear: He has survived, and though he now “know better than to hope,” he also knows that he has beaten the odds—and that he is not alone ...
  5. (Amazon links to Lawrence Booth's Book of Visions (2001), A Companion for Owls (2004), Bucolics (2007), The Common Man (2010) and The Gone and the Going Away (2013).) I could swear that one of you here recommended Manning's poems to me (perhaps even hinting of his potential as a sort of successor to Wendell Berry). Whoever it was, thank you! I have taken very great pleasure this month in reading through Manning's work and he's turning into one of my favorite contemporary poets. His poems are full of stories. Some of them are fast paced and some of them are very slow (both happily so). All of them are very cherishing of local community, old American folk culture and often explicitly religious. Even more powerful is that his poems are gentle, humble and melancholy. Manning greatly values a culture, time and place that seems to be passing away. He also is very affectionate of many of the people he writes his poems about. I'd say more, but for right now, there's sometimes nothing better than introducing a poet by listening to him read some of his own poetry.
  6. I have just become incredibly addicted to the poetry of Geoffrey Hill. His love of the English language, his ability to convey so much with so little to such perfection, his layer upon layer upon layer of meaning with even more said between the lines, his carefully selected word upon word building to slow and steady crescendos, his downright aristocratic Old England/Puritanical/Medieval/Modern lofty and masterly vocabulary ... I could go on and on. I started with A Treatise of Civil Power (2005) with its allusions to Milton and Cromwell, war and politics, classics and modernity, and was immediately addicted. Hill somehow completely enmeshes 1500s and 1600s history with modern day references, phrases and understanding. But the way he does it is a credit to the English language. This is the sort of thing best read to yourself or to others out-loud. Like: or or Or from Clavics (2011), which I read next: Over the last week I just devoured King Log (1968), Tenebrae (1978) and The Mystery of the Charity of Charles Péguy (1983) and I can't stop. Hill's words are too entrancing. I'm not financially rich enough to buy the books as fast as I want to read them. They are, in fact, finite in number however. So I'm going to have to slow down and allow myself only one or two a month. Anyone else here discovered Hill yet? Here's a quick excerpt from Gregory Wolfe's Beauty Will Save the World (pages 87-88): I occasionally read poetry, but I haven't been this fascinated, upon discovering the poetry of someone I hadn't read yet, for years.
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