Word: poetic
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Dates: during 1980-1989
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...Vendler's intimacy with Stevens' mind does not prevent her from establishing highly personal and evocative relationships with many of the other poets in this collection. Reviews of such contemporary giants as Robert Lowell, W.H. Auden, and James Merrill demonstrate her awesome sense of poetic familiarity. Part Of Nature, Part Of Us is a party which any reader interested in contemporary verse-making must attend, for Vendler has marshalled the collective talents of the most significant and well-known poets of the 20th century...
With Part Of Nature, Part Of Us, Helen Vendler confirms the idea that writing is as much a process of the critical faculties as the creative. Her reviews of Eliot, Lowell, Merrill, Penn Warren, Auden, Plath, O'Hara and many others are poems in themselves, or at least poetic testimonies to the major poets of our time. Vendler's collection ought to be enduring in the libraries of American literary criticism, not only for its intellectual depth, but its expression of excitement and comprehension...
...appearance on 60 Minutes last year. His laconic performance--"Drugs? You can't use drugs and play jazz. Maybe rock musicians can, but jazz musicians, never"--was a model of Spartan deportment. Ricker quickly learned that direct questions would yield direct answers--"yes," "no," or on occasion a poetic "uh-huh"? so the director applied a fail-safe formula of good friends, familiar surroundings, and free-flowing booze to create a relaxed, open, and totally upbeat encounter with these musicians...
Fitzgerald's screenplay draws directly on O'Connor's novella, using much of her original dialogue, which is both realistically harsh and softly poetic. And all of the book's strange characters are faithfully recreated: Asa Hawks, the failed preacher disguised as a blind man who begs and steals in the name of Jesus; Sabbath Hawks, his sluttish daughter who falls for Haze; Enoch Emery, the idiot teenage zookeeper who finds a bizarre solution to Haze's search for a new Jesus; Hoover Shoats, the mercenary street preacher who seizes on Haze's Church Without Christ as an exciting...
With Purcell's music lending a touch of formal majesty, the performers move from discord to concord in a progress that sinks deep into the layers of Shakespeare's meanings, to emerge restored and invigorated. Stage movement as much as language becomes a spade they use to unearth poetic ambiguities, in several mimes enacted to bits of Purcell's score: while a soprano sings a mournful aria, Stephen Rowe's Demetrius and Lisa Sloan's Helena wander about in a ghostly love-dance, with Helena reaching for and grasping Demetrius just as he turns away; after the night of illusion...