Here are the 90 books I read for the third percent. You'll notice I mostly read Koch, Ashbery, Milán, Coolidge, and Spanish and Latin American poetry.
Indigo Bunting. Selected Poems (Dupin). Oracle Night. Transmigration Solo. Underground with the Oriole. The Double Dream of Spring. Poems of the Late T'ang. At Egypt. When the Sun Tries to Go On. Three Poems. Houseboat Days. A Wave. The Burning Mystery of Anna in 1951. The Tablets I-XV. Questions of Travel. Loading Mercury with a Pitchfork. Growing Darkness, Growing Light. Mirrors. The Tennis Court Oath. Desdén. Young Cherry Trees Secured Against Hares. A Conversation with David Antin. Days & Nights. Straits. Determined by Aperture. Rabbit Lesson. Mystery of Small Houses. If and When. Same Enemy Rainbow. Hello: A Journal, February 29-May 3, 1976. Wakefulness. The Country of Our Consciousness. Manifest and Furthermore. Mexico City Blues. All That Jazz: Writings on Kerouac & the Sounds. Tres. Chinese Whispers. Your Name Here. The Romantic Dogs. El molino y la higuera. Life & Death. Río turbio. El alumbrado y otros poemas. Mesh. Si yo fuera otra. If I were writing this. La mordedura blanca. De barro la memoria. Million Poems Journal. La condicíon del pasajero. El espejo del cuerpo. El azul en la flama. The Crystal Text. Odes of Roba. Luces de travesía. Complete Mimimal Poems. Centauro. Firefly Under the Tongue: Selected Poems. The Cave. Cuarto de hotel. Acontecimiento. SPACE. Por la noche los gatos. Poemas prohibidos y de amor. De una niña de provincias que se vino a vivir en un Chagall. De mí haré una estatua ecuestre. Island Road. The Rova Improvistations. Báculo de Babel. Singularities. Cosas claras. Al margen del margen (antología 1975-1991). Circa 1994. Ganas de decir. Acción que en un momento creí de gracia. Desnudo en Punta Brava. Antología poética (Milán). Por fortunas peores. Naturalezas. Los cinco entierros de Pessoa. Lápidas. Clima. Viernes en Jerusalén. No duerme el animal (Poesía 1987-2003). La perseverancia del desaparecido. A Form of Women. Código. Liturgia.
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Mostrando entradas con la etiqueta third percent. Mostrar todas las entradas
8 abr 2011
3 abr 2011
Código / Liturgia
(270) Manuel Álvarez Ortega. Código. Madrid: Devenir, 1993. 52 pp.
(269) Manuel Álvarez Ortega. Liturgia. Madrid: Devenir, 1990. 56 pp.
Two books by the Cordova poet MAO. Código is dense, surrealistic plotless narrative, in long dense prose poems. Liturgia consists of shorter prose poems, each divided into three very short paragraphs. I am not fond of how these books seem to be saying the same thing over and over again, caught in a particular rhetoric.
There concludes the third percent of the 9,000 books of poetry project. Only 97% to go.
(269) Manuel Álvarez Ortega. Liturgia. Madrid: Devenir, 1990. 56 pp.
Two books by the Cordova poet MAO. Código is dense, surrealistic plotless narrative, in long dense prose poems. Liturgia consists of shorter prose poems, each divided into three very short paragraphs. I am not fond of how these books seem to be saying the same thing over and over again, caught in a particular rhetoric.
There concludes the third percent of the 9,000 books of poetry project. Only 97% to go.
27 mar 2011
A Form of Women
(267)
I'm resuming my series 9000 books of poetry. I just read A Form of Women, by Creeley, published in 1959. I picked up the first edition cheaply in New York. I'd read all the poems before, but there is something different about reading them in the first edition.
I'm resuming my series 9000 books of poetry. I just read A Form of Women, by Creeley, published in 1959. I picked up the first edition cheaply in New York. I'd read all the poems before, but there is something different about reading them in the first edition.
3 mar 2010
(266)
*Miguel Suárez. La perseverancia del desaparecido. Madrid: Hiperión, 1988. 57 pp.
Taking advantage of the window of receptivity I'm experiencing now, I read this book by Suárez which I recently purchased. I may have another copy of this book in my office already, but reading it now it seems new to me so maybe not. Anyway, it has a very distinctive tone despite being close to poets like Ildefonso Rodríguez and Miguel Casado.
*Miguel Suárez. La perseverancia del desaparecido. Madrid: Hiperión, 1988. 57 pp.
Taking advantage of the window of receptivity I'm experiencing now, I read this book by Suárez which I recently purchased. I may have another copy of this book in my office already, but reading it now it seems new to me so maybe not. Anyway, it has a very distinctive tone despite being close to poets like Ildefonso Rodríguez and Miguel Casado.
(265)
*Ada Salas. No duerme el animal (Poesía 1987-2003). Madrid; Hiperión, 2009. 246 pp.
This volume includes four separate books of poetry. Every poem is extremely short, written in the "essentialist" style which I ought to like in theory. Some poems I find too slight, almost inconsequential, but she does hit it right once in a while.
*Ada Salas. No duerme el animal (Poesía 1987-2003). Madrid; Hiperión, 2009. 246 pp.
This volume includes four separate books of poetry. Every poem is extremely short, written in the "essentialist" style which I ought to like in theory. Some poems I find too slight, almost inconsequential, but she does hit it right once in a while.
2 mar 2010
24 feb 2010
(263)
*Andrés Sánchez Robayna. Clima. Barcelona: Edicions del Mall 1978. 101 pp.
I've owned this book for years but never read it--I know because the pages were uncut. I had underestimated this poet from the Canary Islands, thinking him a kind of minor epigone of Valente. I was clearly wrong about that.
The 9000 book project requires an enormous receptivity. That's probably the quality that I most strive for as a reader of poetry. Receptivity means allowing oneself to be overwhelmed by beauty without trusting too much in one's own prejudices. It's difficult because the prejudices are like a suit of armor, a protective but rather clumsy form of protection--against what? My suit of armor might be very useful in a medieval joust, but really how often am I in a medieval joust?
*Andrés Sánchez Robayna. Clima. Barcelona: Edicions del Mall 1978. 101 pp.
I've owned this book for years but never read it--I know because the pages were uncut. I had underestimated this poet from the Canary Islands, thinking him a kind of minor epigone of Valente. I was clearly wrong about that.
The 9000 book project requires an enormous receptivity. That's probably the quality that I most strive for as a reader of poetry. Receptivity means allowing oneself to be overwhelmed by beauty without trusting too much in one's own prejudices. It's difficult because the prejudices are like a suit of armor, a protective but rather clumsy form of protection--against what? My suit of armor might be very useful in a medieval joust, but really how often am I in a medieval joust?
21 feb 2010
(261)
*Juan Manuel Roca. Los cinco entierros de Pessoa. Tarragona: Igitur, 2001. 153 pp.
I thought I had included this in the series but apparently. Roca is one of the best contemporary Colombian poets, first recommended to me by the Spanish poet Jorge Riechmann. Roca's poems are very memorable: I found that I remembered quite a few from the last time I read this book.
The idea of Pessoa's five funerals is that his heterónimos will be buried with him.
*Juan Manuel Roca. Los cinco entierros de Pessoa. Tarragona: Igitur, 2001. 153 pp.
I thought I had included this in the series but apparently. Roca is one of the best contemporary Colombian poets, first recommended to me by the Spanish poet Jorge Riechmann. Roca's poems are very memorable: I found that I remembered quite a few from the last time I read this book.
The idea of Pessoa's five funerals is that his heterónimos will be buried with him.
20 feb 2010
(259)
*Juan Carlos Suñén. Por fortunas peores. Madrid: Cátedra, 1991. 76 pp.
I love this book. It's one continuous poem broken up into one page fragments, with a remarkable consistency of tone:
¿Va la fuente a la sed,
la tumba al muerto? No,
pero yo (me consuelo) he de llevar la casa al visitante.
Y he de sacar la puerta de sus goznes, depositarla abierta al pie de su deseo,
Yo he de llevar la lengua a la palabra.
*Juan Carlos Suñén. Por fortunas peores. Madrid: Cátedra, 1991. 76 pp.
I love this book. It's one continuous poem broken up into one page fragments, with a remarkable consistency of tone:
¿Va la fuente a la sed,
la tumba al muerto? No,
pero yo (me consuelo) he de llevar la casa al visitante.
Y he de sacar la puerta de sus goznes, depositarla abierta al pie de su deseo,
Yo he de llevar la lengua a la palabra.
19 feb 2010
(257)
*Manuel Padorno. Desnudo en Punta Brava. Madrid: Hiperión, 1990. 76 pp.
This is an amazing book by Canarian painter and poet Padorno. A visionary consciousness of an island poet. I'd read Edenia before, a later book, and not been quite as impressed. There are some direct reference to Lezama Lima--a favorite of many poets from the Canary Islands.
*Manuel Padorno. Desnudo en Punta Brava. Madrid: Hiperión, 1990. 76 pp.
This is an amazing book by Canarian painter and poet Padorno. A visionary consciousness of an island poet. I'd read Edenia before, a later book, and not been quite as impressed. There are some direct reference to Lezama Lima--a favorite of many poets from the Canary Islands.
17 feb 2010
(256)
*Milán. Acción que en un momento creí de gracia. Tarragona: Igitur, 2005.
There was always something unsatisfactory about MIlán's poetry for me, but the more I read the more I'm able to selectively filter that out. I think it was that the poems never ended how I wanted them to; I couldn't quite understand their structure. Now, I'm thinking I was wrong. Or maybe it's that he writes a lot of poems and I was suspicious of that. I couldn't figure out which ones were meant to be the best ones.
Anyway, this is one of his best books. You have to love the title too: "An action that at one time I thought was [an action] of grace."
*Milán. Acción que en un momento creí de gracia. Tarragona: Igitur, 2005.
There was always something unsatisfactory about MIlán's poetry for me, but the more I read the more I'm able to selectively filter that out. I think it was that the poems never ended how I wanted them to; I couldn't quite understand their structure. Now, I'm thinking I was wrong. Or maybe it's that he writes a lot of poems and I was suspicious of that. I couldn't figure out which ones were meant to be the best ones.
Anyway, this is one of his best books. You have to love the title too: "An action that at one time I thought was [an action] of grace."
(252)
Back to my series 9,000 Books of Poetry!
*Eduardo Milán. Cosas claras. Guadalajara: filodecabellos, 1992. 39 pp.
This is a short, unitary, and beautiful book by Uruguayan poet Milán. There's a little less of the self-consciousness about writing that makes Milán's poetry so distinctive. I'm kind of lucky to be reading it because there are only 100 copies and my library happens to have it.
Back to my series 9,000 Books of Poetry!
*Eduardo Milán. Cosas claras. Guadalajara: filodecabellos, 1992. 39 pp.
This is a short, unitary, and beautiful book by Uruguayan poet Milán. There's a little less of the self-consciousness about writing that makes Milán's poetry so distinctive. I'm kind of lucky to be reading it because there are only 100 copies and my library happens to have it.
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