By Alice Notley
Coming After gathers serious items via acclaimed poet Alice Notley, writer of Mysteries of Small homes and Disobedience.Notley explores the paintings of second-generation manhattan college poets and their allies: Ted Berrigan, Anne Waldman, Joanne Kyger, Ron Padgett, Lorenzo Thomas, and others. those essays and reports are one of the first to house a iteration of poets infamous for his or her refusal to criticize and theorize, assuming the stance that "only the poems matter." The essays are characterised through Notley's powerful, compelling voice, which transfixes the reader even in the middle of specialist aspect. Coming After revives the potential of the readable e-book of feedback.
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Additional resources for Coming After: Essays on Poetry (Poets on Poetry)
Gender upsets, but isn’t the idea of “gender” rather mild compared to the wearing of this hat? , the wearing of hats; it’s also the gratuity of life’s real givens, its natural forms—heads and breasts are weird. Elmslie has never done what he was supposed to, and after the nearly forty years this book represents, his poetry can be seen to be unique. You do keep reading the poems, not because they’re part of an ongoing discussion as to What Poetry Should Be Right Now, but because they continue to be unpredictable and unlike (other poetry) and lifelike (weird, patterned, tender).
How to Be a Woodpecker” is a serious work about Anding, in an unpleasant or questionable society, a funny place, in which one is a woodpecker, though not like other woodpeckers in woodpecker society—“peckerwoods”? One is, or he is, then most probably Woody Woodpecker, an icon of Padgett’s one knows from another poem, “To Woody Woodpecker” (originally in The Big Something): I love you, Woody, when you peck on the head 35 of a bad person and laugh and By away real fast, speed lines in the air and clouds of invisible dust dissipating.
The Arst line announces really an emptiness of image, and there’s very little to see in this poem, there is rather an atmosphere and sounds: drizzling, barking. The poem 36 concentrates on deAning what is lost. I love the second through Afth lines, almost awkward but instead extremely speciAc: I like the way the “them”s and “their” aren’t confusing though referring to different antecedents. ) and anyone’s contribution to a city or community missed when they have died. The long line beginning “By pretending” is so perfectly emphatic; it’s the eighth line of a fourteen-line poem that isn’t perhaps a real sonnet, but is sonnet-like in honor of Ted and Edwin, both known for their sonnets.