Word: poeticizing
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...somewhere contain his icons for the female and male genitals, as isolated from sensual context as the biologist's symbols, and just as unvoluptuous. Male phalluses are always limp, and female vaginas sharp-edged and abstract, even when surrounded by flaring flames. "The sex organ has a poetic power, like a comet," Miró says. Those figures - sometimes gay, sometimes grotesque - that posture against fathomless space are what Miró's latter-day disciples have most tried to imitate. But Miró could not care less. He still feels himself as an explorer. A series of canvases that...
...risky venture as best in these postlapsarian times. Awash in his hard-won Catholic faith, T.S. Eliot spun Murder in the Cathedral in 1935 out of the stuff of the ritual he was preoccupied with and the metaphysical poetry he esteemed. Since then, its readers have appreciated its poetic merit, but its audiences have sat uncomfortably as paradox and conceit flew by, just out of their grasp...
...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...