¡Bemsha SWING!

24 jun 2007

Here are some "angles of approach" that I like to use to describe various kinds of pleasure I get from poetry.

Accent, distinctiveness

Could the poem have been written by anyone, someone else? Does it have a distinctive accent or is it more "generic"? Is its distinctiveness such that it is a self-parody? Are there obvious "mannerisms"?

"The tune of a cold trunk is thin
mute cate behind glass
that I write at all is bannered
in the close grains of sight outlasted" (CC)

Poeminess

Does the poem have a definable shape to it? Is it the right length for what it is? Does it go on too long? Is it a poem or is it "passages" of poetry? How is it at beginning, at carrying on, at ending?

(I have a hard time writing poems with this quality. I don't know how to end a poem, or make it go on for very long, though I am very good at begining.)

nioi, scent

Is it suggestive? (It shouldn't tell or show, but suggest something beyond what the words say.) Does something "catch" on the mind. Or does it use explicit "statement" in an interesting way?

cantabile

Is it cantabile? Does it sing? Does it sing too much?

freedom

Does it break its own rules? Does it make all the rules irrelevant? Is it "disobedient"? (Bernadette Mayer is a good one for this quality.)

6 comentarios:

Thinker dijo...: Can you explain disobedient poem...sounds interesting.; 5:50 a. m.
Andrew Shields dijo...: That is a real nice set of points. I think a lot of poets have the problem you identify your own work as having: not knowing how to end.

I sometimes think my poems stop to soon, as if I am good at setting things up but not good at developing their implications as far as they deserve to be developed.; 5:52 a. m.
Jonathan dijo...: I am not satisfied with endings that make a little knot at the end in a predictable way...

I can't really explain disobedience, since it might be different for each person. For me it is a kind of fearlessness--not playing it safe.; 8:15 a. m.
JforJames dijo...: A good list of attributes. I'll quibble with 'freedom' because it's a bit too bland or too washed-out a term.

And 'poemness' rather than 'poeminess'...the latter sounds like a tag word an ad man might coin.; 5:28 p. m.
Jonathan dijo...: I won't concede the word freedom to the admen. "As freedom is a breakfastfood..."; 6:00 p. m.
Joannie Stangeland dijo...: I appreciate especially the point about suggesting instead of telling or showing. Something for me to keep working on.; 9:39 p. m.

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Blurbs & Reviews

"Jonathan Mayhew’s new work belongs to a certain class of surprising books: those so obviously necessary once they appear that it apparently required a stroke of genius to come up with the idea for them."

--Daniel Katz

"Jonathan Mayhew's Lorca is less the distinctive Spanish poet, whose murder in 1936 marked the beginning of the Civil War, than he is an American invention. From the 1940s to the end of the century, our poets have invoked Lorca-in translation, of course-as a Romantic, exotic, radical, and, in many cases, gay icon-the poet of mystery and the duende. The Lorca myth, Mayhew argues persuasively, has enriched American lyric, but it has also been an obstacle to a more adequately grounded understanding of Spanish poetry in the 20th century. Apocryphal Lorca is revisionist criticism at its most acute."

-Marjorie Perloff

"Enhanced by copious notes and an excellent bibliography, this book offers a perceptive, intriguing assessment of the Garcia Lorca created by the postwar generation of American poets." (Choice )

"Mayhew is a critic who is at the top of his game; he combines a breadth of knowlege of the field with acute analysis."

--John C. Wilcox, University of Illinois at Urbana-Champaign

"Let me just cut through all the usual, boring book review preliminaries and say the following thing: Jonathan Mayhew has, in Apocryphal Lorca, written an amazing book. "

--Brandon Holmquest, Calque

"The great merit of Mayhew's study is his sustained effort to document and interrogate Lorca's reception, unique among American encounters with foreign literatures in its nature and extent."

--Lawrence Venuti, TLS.

"Se trata de Jonathan Mayhew y su extraordinario estudio Apocryphal Lorca. Translation, Parody, Kitsch. Esta obra se ocupa no de García Lorca sino de cómo los escritores estadounidenses han reinventado a Lorca, desde Spicer y Rothenberg hasta O’Hara y Koch. Asimismo, es una discusión de la Deep Image —¡cuánto hay que desmenuzar de ese capítulo!— y la manera en que la poética norteamericana se ha apropiado de lo lorqueano (o lorcaesco) y del concepto de lo 'otro' que éste representa. Éste es un libro repleto de sutilezas, de tesis, apuntes, datos."

--Heriberto Yépez

"Apocryphal Lorca, sin embargo, es mucho más que un estudio de las vidas posteriores de Lorca en la poesía americana entre principios de los años 50 y 70. También ofrece un acercamiento histórico a la traducción de su obra, descubriendo reseñas de prensa significativas y discurriendo acerca de reconocimientos críticos. El texto es elegante y fresco; el análisis amplio e históricamente específico."

--María Delgado, Revista de Literatura

¡Bemsha SWING!

24 jun 2007

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