Word: poem
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After a night in Kratie (there are several basic hotels, all less than $10), it's seven hours to Stung Treng. An American visitor in the 1920s described the town as "a savage little poem," and there is little to see. But you must stop to obtain permission to cross the border, either from the immigration office ($1) or the Sekong Hotel ($20, but hassle-free). The last three hours to the border are by outboard-powered dug-out. The going is slow but the pace affords fine views of the delta at its most pristine. The thick jungle harbors...
...author in 1980 during one of his visits to the U.S. and the two formed a lasting friendship. Although Dongala was in town for business related to his work as a chemist, he was writing extensively, and his first book, Un Fusil dans le Main, Une Poeme dans la Poche (A Gun in the Hand, a Poem in the Pocket) had already won him prizes for the best French novel written by a non-Frenchman. When Roth heard Dongala was trapped in war-torn Congo, he drew on the lobbying power of Senator Edward M. Kennedy (D-Mass.) and writer...
This photo provides the front cover of The Breakage; it also offers Maxwell an opportunity to reflect, in a typically local and modest way, on the First World War itself. He recalled, as he introduced the poem, a day in his own childhood when his family had taken his grandfather back to the battlefields of Northern France, “he had never spoken about his experiences there to anyone before, and after talking all day about it, he never did again...
...This poem, like much of Maxwell’s work, works out of a specific location in his own childhood. He read it polyphonically, letting the dry and witty formal turns rub against a more casual, Londoner-in-a-pub style of delivery—a pleasure in the poem as story. Before this reading, my acquaintance with Maxwell’s work was limited to his earliest poems, some of which, as he has himself admitted, are formally tight to the point of obliquity, and a sort of surreal terseness...
...long poem with which he ended allowed a very different Maxwell to emerge—more ruminative, speculative and, I’m tempted to say, more American. The frustrated script writer? Based on the story of the Flying Dutchman, “Time’s Fool” is written in a loose terza rima: still carefully turned, but driven by narrative rather than the internal demands of metre. It seemed entirely appropriate after the reading when, over a glass of pallid Chardonnay, he told me that “strangely, I found it easier to publish this...