Word: grasps
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Dates: during 1960-1969
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Sidney Goldfarb, who has published before in the Crimson Review and Pharaetra, contributes three poems which I like very much. They show a good grasp of tone and an ability to restore impact to everyday phrases and imagery. Goldfarb avoids the purple passage, the overblown metaphor, and the "poetic" sentiment so common in the verse of young poets. instead, he turns out stanzas like these two from Mrs. Willy Cavanaugh, I Remember...
internal conflict that he experienced during his first jump. "On the one hand is the fact of its safety: you grasp this easily and firmly with the mind. But on the other hand is the emotion of fear. It is so strong that you might want to call it an instinct. It is not, of course. This fear is very useful, and you have learned it from your earliest days of falling out of your high-chair...
...everything there was to know about music; she knew the oldest and the latest music, pre-Bach and post-Stravinsky, and knew it cold.... I am convinced that it is Mlle. Boulanger's perceptivity as a musician that is at the core of her teaching. She is able to grasp the still uncertain contour of an incomplete sketch, examine it, and fore-tell the probable and possible ways in which it may be developed. She is expert in picking flaws in any work in progress, and knowing why they are flaws...
Long, long ago the Truth was found, A company of men it bound. Grasp firmly then-that ancient Truth...
...startled England with a perform ance of Mobile for Tape and Percussion, identified as the work of young, avant-garde Polish Composer Piotr Zak (TIME, Aug. n). Composer Zak's cacophonous creation lasted twelve minutes and left the London Times complaining desperately: "It was certainly difficult to grasp more than the music's broad outlines, partly be cause of the high proportion of unpitched sounds and partly because of their extreme diversity." Zak's Mobile proved to be the handi work of two pranksters who banged away haphazardly at "all the instruments we could find...