Email me at jmayhew at ku dot edu
"The very existence of poetry should make us laugh. What is it all about? What is it for?"
--Kenneth Koch
“El subtítulo ‘Modelo para armar’ podría llevar a creer que las
diferentes partes del relato, separadas por blancos, se proponen como piezas permutables.”
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1 feb 2006
Two Episodes in the Assimilation of Spanish-Language Poetry in the U.S.: Creeley's "After Lorca," Koch's "Some South American Poets"
This essay is going to kick some serious ass. I'm psyched about it.
You might just as well say that you distrust the radical subjectivism of American poetry, with the confessional school and its legion of followers. To say the self is an instrument is already to take a more "objective" posture. The self is an instrument, not an origin or source.
I wasn't talking naively about writing from the self or not, but about styles of self-presentation. You can exaggerate or understate, for example, evade or take things on directly.
To formulate these questions you need to invert the subject and the verb:
"Is not the 'objective' attitude in poetry an illusion, a naivete?"
I meant private as opposed to public, not private in the sense of Wittgenstein's private language argument.
ResponderEliminarExaggerate in the sense of a theatrical sense of the self--a self-dramatization.
You might just as well say that you distrust the radical subjectivism of American poetry, with the confessional school and its legion of followers. To say the self is an instrument is already to take a more "objective" posture. The self is an instrument, not an origin or source.
ResponderEliminarI wasn't talking naively about writing from the self or not, but about styles of self-presentation. You can exaggerate or understate, for example, evade or take things on directly.
To formulate these questions you need to invert the subject and the verb:
"Is not the 'objective' attitude in poetry an illusion, a naivete?"
"Is there any other?"