Word: poets
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...things / he believed was that our poems could be better / than our motives. So who cares why / he wrote those lines about the hairstyle / of his piano teacher in Wilno in the 1920s / or the building with spumy baroque cornices / that collapsed on her in 1942,” poet Robert Hass writes in one of his latest sequences of poems, “July Notebook: The Birds.” In his newest collection, “The Apple Trees at Olema,” Hass’s poetry and motives seem to be entirely in sync...
...dune moves, he writes, in a “grand slow march / across the earth’s surface,” which “has an external counterpart in the scouring / movement of glaciers.” As he explores the layers of fractals in nature, the poet sees similar shapes and motion in the patterns of human feelings. He notices “The movement of grief / which has something in it of the desert’s bareness / and of its distances...
...poet manages to represent the dialogue between David and the woman he loves with similar precision: “at the party, she said, / ‘I have an English father and an American mother.../ and at some point I had to choose, so I moved back to London and became the sort of person / who says puh-son instead of purr-son.” Hass carefully details the small stories of each of the characters who appear throughout his poems. This ability to create a convincing narrative seems to be, according to Hass, important for poets. After...
Although Hass’s section of new poems does not seem as polished and schematized as the segments selected from his previous collections, its slightly rougher quality helps the poet present his work as if he were giving his reader a privileged view into his private journals. The new poems of “The Apple Trees at Olema” show that Robert Hass continues to write verse that approaches both the natural and the human world with a close, scientific eye. This new collection is a celebration of the beauty he finds in the order of both...
...Third, Bubo. C'mon, guys, this whistling clockwork owl was one of Harryhausen's lesser concoctions. Offering comic relief to the 1981 film's solemnity, Bubo was a figure of George Lucas-like whimsy: the echo of R2D2, precursor to Jar Jar Binks. At the end, a wandering poet (Burgess Meredith) says that Perseus' achievements might inspire him to write a play, and when Bubo starts clucking he says comfortingly, "Oh, don't worry, I won't leave you out." The new movie's screenwriters, Travis Beacham, Phil Hay and Matt Manfredi, took that as a cue to usher Bubo...