On Verse
Writing the Cry: French and Francophone Literature
Is France still at the center of the French-language literary world? Or, to ask a broader question, is there a center at all? In the fall of 2006, five of…
The Lyric LangPo Alarm: Rae Armantrout
Rae Armantrout’s poetry is informed by two key sources: first, the radical poetics of 1960s San Francisco; second, the terse verse forms of William Carlos Williams, whose poetry she first…
Last Rhapsody at Marienbad
Ben Mazer, now in his forties, looks like a terribly serious man in his photographs. He wants us to take his poetry seriously too. He publishes rarely and gravely: the…
Birds, Not (John) Cages: on Dean Young’s Art of Recklessness
In his 170-page paean to reckless impulse, Dean Young spurns consistency, “over-thinking,” and all emphasis on craft, procedures, and technique. He casts out discipline and hard work, perfection and conventional…
Frivolous Flesh and Stoical Bone: Daryl Hine
For the last 10 or 20 years—until now—one needed to excavate the poet Daryl Hine in order to read him. Most of his work was out of print, almost forgotten,…
In the Familiar Ways: Ben Lerner’s Mean Free Path
“The reason the siren slides is because it doesn’t hit you,” said astronomer John Dobson. He was explaining the Doppler Effect, that phenomenon of physics every urban resident knows by…
No Room at the End (diptych): Henri Cole
A thirty-foot spider made of stainless steel perches outside of London’s Tate Modern Museum. Artist Louise Bourgeois’ sculpture Maman is grotesque and elegant, vulnerable and out of place on its long…
Reading Gabriel Gudding
I. G.G. and the Humble Sublime Gabriel Gudding is an upstart crow, the only shake-scene in the country. The scene he shakes and bobbles is not merely the snow-globe of…
Running on Fumes: Jim Harrison’s In Search of Small Gods
A successful Orphic poetics often depends on the poet’s ability to arrest the reader’s critical faculties and to sustain that suspension across a traumatic arc. It is a high-romantic, if…