Word: poetes
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Dates: during 1960-1969
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...confronted with himself at 60, 40, 20, and even as a baby. The four grown Sams share the stage together, and with all the amusing ironies of hindsight and foreknowledge relive key episodes in their communal life. Sam at 20 (John Horton) is an ardent lyric poet and marathon runner, at 40 (Donald Davis) a disgruntled fictional crafts man of obscure worst-sellers, at 60 (Dennis King) a rich, popular hack novelist and flagging voluptuary. Old Sam is still trying to learn the lesson of his life as the four Sams discuss marriage, mistresses, goals and the gulf between father...
What was the "seriousness of the situation"? During his reading, Brother Antoninus explained his function as a poet: When I was walking here, I looked at the gulls circling in the sky--they know each other, they band together. That's really the way it is with us. I am taking you into a spiral, but it's not going to be an elevation: we're going down--down into the depths of the heart. I want to find a cranny in you that I can crawl through. That is the function of the poet: to create an aperture...
...poet identified with the San Francisco Renaissance headed by Kenneth Rexroth, Robert Duncan, and Lawrence Ferlinghetti, Brother of Antoninus published poems for many years under the name William Everson until he became a lay brother in the Dominican Order eleven years ago. As all poetry should, Brother Antoninus' writings have had an organic development which reflects the parallel development of his personal life. While much of his earlier poetry did exhibit some orientation toward God, it largely dealt with his attempt to find meaning in life through sensuality. He explained the cause of a rather sudden shift in orientation: after...
...life. The wave of off-Broadway excitement and support for such playwrights as Beckett (Krapp's Last Tape) and Genet (The Balcony) made possible the precarious on-Broadway beachheads of Pinter (The Caretaker) and Ionesco (Rhinoceros). Genet, who is less an absurdist than a perversely erotic symbolist poet of the theater, is a perfect example of the kind of playwright Broadway will still not touch, to its considerable loss. His The Blacks, now well over the 700 mark in performances, is probably the most satisfying work of art ever produced on the color question, an unsentimental depth probe...
...poet's own generation cannot issue him a passport to immortality, even when it would like to. Robert Frost was no literary revolutionary, like Walt Whitman or T. S. Eliot. But he is more controlled and artful than Whitman, less narrowly contemporary than the early Eliot, wider-ranging than that fellow precisionist, Emily Dickinson. Some of these had strengths that were not his, as he had strengths that were not theirs. His own generation can only be sure that he belongs in high company...