Word: poetically
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Dates: during 1990-1999
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...Yeats, father of the poet. Luks boasted that he could paint with a shoestring dipped in lard and tar. The artist, smearing oily gunk on a cloth with bristles, is immersed in mess--a manual worker of images. This makes him one with the city and its people. For poetic spirit, he should emulate Walt Whitman, learning to embrace the body of the city and contain multitudes, dirt and all. The masculine realism of Winslow Homer inspired all the Ashcan artists--they, especially Henri and Bellows, wanted to be Homers of the city...
...celebrations apparently derive not from the martyr but from one of two other sources. Historians place the Roman festival of Lupercalia in the middle of February and suggest that a pagan bacchanal might have developed over the course of centuries into our tamer celebration of romantic love. Alternatively, a poetic mistake might have placed the dawning of spring in the middle of winter...
...article in the Boston Globe on Nov. 24 indicated that Melinda T. Koyanis, copyright-and-permissions manager for the Harvard University Press, made a statement to The Crimson about my manuscript, Poetic Work of Emily Dickinson: A Readers' Text. I quote: "Koyanis told The Harvard Crimson that the professor's understanding of the poet was 'inaccurate' and that 'even [his] word choice was wrong...
...Moor's Last Sigh is a reaching, rickety palace of a narrative, sprawling in historical scope and capped everywhere with poetic minarets. The whole affair is held together by Rushdie's swift, lyrical, humorous style--or, mostly held together. The novel lacks the brilliant closure of Midnight's Children. Some avenues end artlessly, while others take too many twists. But the story never slows down long enough to get stuck. The crescendo, the penultimate action of the novel, is a manic and violent script worthy of John Woo direction...
Also worth remarking is Koyanis clause, "aimed at a general reader." The Introduction to my Poetic Work of Emily Dickinson explicitly states that the collection was prepared with the non-specialist in mind. The Harvard Press's copyright-and-permissions manager suggest that this purpose is a principal reason why a text such as mine is "not in the best interest of preserving or presenting the integrity of the Dickinson work." But what can Koyanis mean by the "integrity of the Dickinson work"? My Introduction details a notion of "poetic work" as an open-ended process that one widely respected...