Word: poemes
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...latest poem, Wang says, "Observe ethnologic difference./Kiketry not limited to mesopotamians:/ALL races are susceptible./Rooshun filth worse than talmudic filth./. . . A pure bull never interferes with a pure horse./. . . While murk'n beaneries are filled with/pinko -commissants,/liberaloid eggheads,/. . . 'Make the world safe for democracy'/and in turn destroy our Constitution...
...synthesis of such a diversity of subjective and objective elements, however, is only partially successful. The rhythm and consistently gaunt imagery give the poem a great amount of tonal unity, but there is little development toward the identity of the artist with his environment that the last stanza professes him to have achieved. Granted the painter may have felt this identity, but it is still up to the poem to help the reader partake of the process. But it's too static and remains as a whole nebulous and gray. Despite its other virtues, there is little light and color...
...conspicuously, or more often remain submerged in the gray sounds of grammar and they must be hunted for. One has the feeling that the poet is mumbling to himself. The absence of an audience is also implied by the almost total lack of humor despite the title of the poem...
Freeman's poem, in contrast, specifically recognizes the existence of an audience. Certainly the most successful work in this Advocate, it is an hortatory stage whisper to "an audience" accompanied by appropriate rhythmic gestures. The poet succeeds in sharing with his readers some of stagecraft's "dreams," "contrived hallucinations" through which one might "Now in attentive webs, catch rapture fleeting." The sounds are precise, pleasing, and appropriate. The images cast out to the listeners are nearly as fine as the sound that bears them, and there is a welcome humor in the poem's treatment of itself...
...third poem of this issue, "The Return of the Magi" by George Starbuck is neither ambitious nor very successful. It's about taking the Christ out of Christmas and the sing-songy rhythms and rhymes, while appropriate for the subject, walk the poem too hard in places. Elsewhere it stumbles over metrically awkward phrases or inconsistent imagery: "But when we got there the manger was bare./ The land was sore athirst." Consequently, the Magi seem to progress with the poem in a series of starts and stops. It is appropriate for them to stumble occasionally, but they never seem...