Word: poems
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Dates: during 1960-1969
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John Foster's oddly rimed fourteen-liner, "Mockett's Point Revisited," pays homage to Wordsworth's Immortality Ode: rocks, lakes, and mountains "shall mock/ Our childhood vision--our point can be no more." Of the poem's four stanzas, three are built around colons; they stand, in effect, as equations. If the articulation of the poem's parts seems too elaborative, not sequential enough, these colons may be the root of the evil...
...Mahatma Gandhi once said, "is a poem of pity." Last week India's sacred animal brought not pity but violence to the very doorstep of government. The occasion was a rally of 125,000 Hindus, who had come from all over India to pressure the government of Prime Minister Indira Gandhi into enacting a national ban on cattle slaughter. Converging on a traffic circle near Parliament, the demonstrators at first listened peacefully to speeches. Then a sadhu (Hindu holy man), a member of Parliament, sprang onto the speaker's stand. He had just been ushered...
...larger fortune. Thompson suggests that this notion was typical of Frost's self-indulgent "mythmaking," a compulsion to see himself as a hero battling against insuperable odds. This particular fancy gained a wide audience when Frost went to England in 1912 and published two collections of poems. It was Ezra Pound who, in his review of A Boy's Will, launched the poet and the myth by singling out In Neglect, a five-line verse that begins, "They leave us so to the way we took." That poem, wrote Pound, had been composed "when Frost's grandfather...
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...
...little difficult to suggest what it is that Grenier has accomplished, just as it was once difficult to understand what he promised. In a way, he fulfills William Carlos Williams' example and Charles Olson's precept together (Projective Verse , 1959: "A poem is energy transferred from where the poet got it, by way of the poem to, and all the way over to, the reader.... Form is never more than an extension of content.... One perception must immediately and directly lead to a further...."). But he is wholly sui generis; his present work seems to be of infinite potential...