Word: goldfarbs
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...Sidney Goldfarb '64 dominates the issue. A limecolored center section presents seventeen poems by the incomparable Sidney -- the barging personalist, the grizzled residumorph of a fat-boy complex who garnished two hundred pounds of soul with a Rasputinian beard, and converted a certain respect for violence into a poetry that is as idealistic as it is aggressive, and as sweet-tempered as it is visceral. The poems are followed by appreciative essays by Richard Tillinghast and Robert Grenier; both talk extraordinarily good sense about a poet who is so skilled in the arts of Personality that he sometimes denies...
...Goldfarb were a bad poet he would still be monumental; he is a good one, and magnificent. Tillinghast calls attention to a generously exploited strain of exhibitionism in the preceding verse...
...Grenier declares Goldfarb "in his poetry, altogether spiritual." Yes, Goldfarb achieves fire and air by adopting and digesting the realm of earth and water -- viscera mundi. Alimentary metaphors reign...
Loud, stagey, peripherally vulgar, Goldfarb celebrates himself and his environment in language so accurate, so lusty, so unmistakably public and engaging that no dissent from his accomplishment is possible...
...little. Baumgarten suggested, and experience confirms that really "spiritual" poetry stops being poetry pretty soon. It migrates from the particular to the universal too quickly to come down hard on the stuff of experience; it robs us of sensation and pays us back in the inflated currency of Concepts. Goldfarb is too hip, too conscious of what any reading audience wants, to bypass the senses. Maybe he appeals to them too often. We develop such faith in his experience -- such confidence in his brilliantly modulated rhetoric -- that we are willing to accept almost any statement as poetically valid, even passages...