Word: poem
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Dates: during 1970-1979
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...Eight poems and one short story make up the rest of the issue. It is disconcerting to see so little of the issue's effort being devoted to the actual business of poetry and fiction. It is a meagre offering. The poems serve well as examples of some of the bad habits Richard Rosen mentions as plaguing the efforts of student poets-they are short, they are quiet, they are not very careful. Most of them, however, do manage to avoid drowning in the self-confessional sink where much of the subject matter of contemporary poetry seems to be found...
...Angeles called The Company is proving that a different approach can produce a loving sense of affinity and communal affection. They have done little-known plays by Ann Jellicoe, who authored The Knack, Megan Terry, who authored Viet Rock, and an adaptation of Lawrence Ferlinghetti's poem, "A Coney Island of the Mind." They have now embarked on a "theater-of-touch" which they call the James Joyce Memorial Liquid Theatre...
...late '50s and early '60s, after Nikita Khrushchev had rolled back Stalinism, it seemed that the time had come. The young poet Evgeny Evtushenko had just emerged as the public voice of the uneasy new freedom. His poem Babi Yar, a passionate denunciation of Soviet antiSemitism, read aloud to thousands of Russians, was becoming a symbol of popular outrage at past and present repression...
Grumpy Greeting. Boldly Shostakovich chose to compose his 13th symphony, basing it on Babi Yar. The 60-minute composition had five movements. Utilizing a large male chorus and a baritone soloist, Shostakovich used the complete poem for his first movement, choosing other Evtushenko verses for the remaining four. The 1962 Moscow premiere was an unequivocal public success. Government reaction was a different matter. Pravda treated the symphony with near silence-a grumpy one-line sentence to the effect that the performance had taken place. There were no reviews. The composition was withdrawn for ideological repairs. With a few lines added...
These qualities of mind and art are never better summed up than in the book's final poem, "Prologue at Sixty." Now beginning to listen to thoughts of his own death "like the distant roll/ of thunder at a picnic," the poet remains stubbornly tentative to the end. Part prayer, part history lesson, "Sixty" links Auden in his Austrian retreat to the Northern barbarian races-with whom Auden has always been conscious of kinship-and the long sweep of European history. "Turks have been here, Boney's legions,/ Germans, Russians, and no joy they brought." The medium through...