Word: poeticized
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Dates: during 2000-2009
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...oversimplified a complaint as it may be, it would be unwise for the poetic community to dismiss the confounding quality of contemporary poetry entirely. It is often quite difficult to divine meaning from poems written today—even for those intimately involved in reading and writing them—particularly on the first go-round. This stems from the myriad ways of experiencing a given poem and each way’s respective degree of appeal. Readings based on analysis—a summary of the narrative thread or a pinpointing of the poem’s speaker...
...heard. With the rising popularity of free-verse in the twentieth century, the visual layout of the poem—line breaks, indentations, punctuation, stanza breaks, spaces, etc.—has become increasingly important, replacing emphasis on the auditory landscape of rhyme and alliteration. The disappearance of these poetic devices, which formerly served to aurally delineate the poem, has resulted in an ambiguity as to how the poem’s visual arrangement informs the way it’s to be read aloud. Since the primary sense being used in reciting poems today is sight, the poet...
...Repetition as de-existence / as condoned & re-spun vapour / which continues to post-exist / as mirages across an ark / as lucid underwater scent.” Thus begins “The Bedouin Ark,” the opening poem in Will Alexander’s new collection of poetic monologues. It is not a propitious start: the combined effect of “de-existence” and “post-exist” in this context is one of self-conscious jargonizing. “Ark” is one of five shorter poems that serve...
...poem ends with a paradigmatic Rilke image—in observing her impediments, he suddenly perceives a flash of transcendent elegance. Mitchell writes, “and yet: as though, once it was overcome, / she would be beyond all walking, and would fly.” Snow lowers the poetic register, writing, “and yet: as if, after a crossing over, / she would be done with walking, and would fly.” Mitchell’s hypothetical “as though,” draws the “o” sound through...
...criticisms most frequently lobbed at Al Gore's An Inconvenient Truth is that he has his facts wrong about the snows of Kilimanjaro. Yes, those immortal snows are vanishing (actually, they're glaciers, but we can blame Ernest Hemingway for that bit of poetic license), as Gore's global-warming documentary contends, but they've been receding since the early 1900s at least - long before the planet began to warm...