By Ethan Lewis

“It is vastly very important that fab poetry be written. It makes no jot of distinction who writes it.” Ezra Pound’s comment makes a few polemic, yet nonetheless extra prescriptive experience, as evaluative of our current state of affairs. a few nice poetry (never brain the a ways greater volume of trash) is rising – from numerous coteries of committed artists, rather plausibly on your group. This anthology brings to press fifteen exemplary poets from Springfield, Illinois and its environs. but even though endorsing their wider recognition, this severe anthology advances an interpretative procedure. we will garner a lot from examining the justly famed poets reflexively, with these lesser recognized in our midst. Any particular poem of the best quality is trained via, and informs via, comparability with works of like quality. certainly, the try out of an imprecise gem inheres in severe comparability. And kin by no means run a method. One may possibly harbor keener appreciation of Wallace Stevens in gentle of yes works through Corrine Frisch – simply as Keats and Stevens together tell each other. The imperative guideline of this article holds, with Eliot and Frost – a now not so not likely coupling as could be idea, therefore an ideal pair to introduce the author’s modus operandi – that we learn relationally. “No artist . . . has his that means alone.” “We learn C the higher to learn D; D, the higher to return and get anything extra out of A. development isn't the target, yet flow: to get one of the poems the place they carry one another aside of their locations because the stars do.”

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Extra info for Reflexive Poetics: A Critical Anthology

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Higginson, “A Poet’s Haiku: Paul Muldoon,” Modern Haiku 35:2 (2004) 49. Similarly to Muldoon, Davis delights in cracking his idiom over any convention, to hatch what the alliance will. The few haiku he includes compass more affiliations, cast “Had Neruda preferred” the form. One piece, especially, presents the empathy with objects (and of objects with us) evident throughout Odas Elementales: The house heard you leave In leafless rain. I’ll wait and See—my windows ache. But in fact the haiku darkly reconfigures number 8 of Neruda’s Cien sonetos de amor(trans.

By keeping things light, Scranton can critique Loneliness, Dualism, Unintended Consequences—abstract matters like these and Love and Truth and Tolerance, all resistant to black and white treatment. "Think[ing] in shades / of gray" acknowledges nuances, but also defines a philosophical approach. It would not ring true to trumpet that, "NOW MORE THAN EVER," understanding life must be recognized as transcending mere explanation of it. Kierkegaard perceived this circumstance descriptive of all times.

Frank Kermode and Joan Richardson (New York: Library of America, 1997) 904, 912: "Poetry is a poetic conception, however expressed. A poem is poetry expressed in words. But in a poem there is a poetry of words. " Tellingly, though pointing up the unitary result, Stevens slants the dialectic in either direction. His first comment foregrounds the "conception," "express[ible]" in "a poetry of words"; his second, "the poem of words" "within" which "the idea" unfolds. H. Auden, "Introduction," The Complete Poems of Cavafy, trans.

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