Word: poetes
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Dates: during 1990-1999
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Perhaps the most important imaginative relationships in young Dali's life were with people, not paintings: the poet Federico Garcia Lorca and the future filmmaker Luis Bunuel. United in their loathing of bourgeois convention -- Dali and Lorca coined the term putrefact for any stale idea or piece of kitsch that offended their nostrils -- the three were, in fact, very different creatures. Bunuel never lost his anarchic iconoclasm, whereas middle age ended Dali's; but the films they made together (An Andalusian Dog, 1929, and The Golden Age, 1930) remain classics of provocation. For a few years, Lorca and Dali found...
...crystalline and extravagant beauty of Lorca's imagery helped release similar qualities in Dali's work; above all, it was the poet's baroque character, his preoccupation with death, sex and the morbidity of flesh, that encouraged the younger artist's imagination. The mark Lorca left on Dali's art was not its modernity but its extreme Spanishness. But that, too, is why Dali's best work has lasted...
...that with more time every writer on the Internet would produce sparkling copy. Much of the fiction and poetry is second-rate or worse, which is not surprising given that the barriers to entry are so low. "In the real world," says Mary Anne Mohanraj, a Chicago-based poet, "it takes a hell of a lot of work to get published, which naturally weeds out a lot of the garbage. On the Net, just a few keystrokes sends your writing out to thousands of readers...
Moscow has not always been this way. In 1916, a year before communism's whirlwind transformed Russia into the Soviet Union, the poet Marina Tsvetayeva described her native city as a vast hostelry of "forty times forty" churches, where small pigeons rose above the golden domes and the floors below were polished by kisses of the faithful. Under the Soviet regime, with its Stalinist housing bunkers and oppressive military bearing, the city became a grimmer place, but one that was anchored, orderly, predictable, even if, to many outsiders, drab and downcast. By 1976, the British journalist Geoffrey Bocca could describe...
...displayed a new, calm bravery. At one point he paused, knee-high in the stream of his eloquence, to ask if he might take a sip of liquid morphine to ease his pain. Bragg wondered if they should stop; Potter replied, "It's better to go on." As another poet of profound distress, Samuel Beckett, wrote...