Lovers who whisper together . . .
wake up violets . . . [commented out!]
Showing posts with label ed dorn. Show all posts
Showing posts with label ed dorn. Show all posts
Thursday, May 19, 2011
Wednesday, July 29, 2009
A Sociology of Games
after Edward Dorn
In soccer
when you do something good
one of the opposing team's fans
stabs one of your fans.
In american football
one of the opposing team's fans
stabs one of your fans
because he looked at him funny.
In soccer
when you do something good
one of the opposing team's fans
stabs one of your fans.
In american football
one of the opposing team's fans
stabs one of your fans
because he looked at him funny.
Wednesday, September 08, 2004
Heretic in the House
Chicago Review's triple-issue, Edward Dorn, American Heretic arrived today, and it's a tome, a striking tome. It will probably be the weekend before I'm able to really sink my teeth into it. About 250 of the 400+ pages are given to the section on Dorn, which besides critical appraisals and memoir, includes a transcript of one of his workshops at Naropa, a 1990 interview, and reprints of rare poems that alone make this 3/4 of a volume worth the price. In his preface, editor Eirik Steinhoff, notes that this issue "is not exactly intended to introduce Dorn," then quotes Robert Creeley: "Not even a sunrise could quite manage that." But Steinhoff's preface itself, in the span of about 15 pages, offers a solid, concise intro for those new to Dorn—not just providing a context, but also flushing out Dorn's geocultural poetics.
After the intro, we get Dorn's "Tribe", which begins with the poetry of origins—"My tribe came from struggling labor / Depression South Eastern Illinois / Just before the southern hills start / To roll toward the coal country"—grows increasingly political, and ends in polemical fireworks while not lapsing from the lyrical.
Then I had a salad for supper, and then I came up here to do this, while KC tired out Vaughn and got her to sleep. Before starting to type though, I happened into Jennifer Dunbar Dorn's "chronicle" of her time working with her late husband on the literary newspaper Rolling Stock, a great little bit of biography that I couldn't put down.
The only other part of CR I've read so far is CSU alum Piotr Gwiazda's fair and balanced review of Robert Pinsky's latest book of criticism. Sympathetic to the book's shortcomings throughout his review, Gwiazda ends with "Democracy, Culture, and the Voice of Poetry (note the singular) is a graceful, passionate, and somewhat snobbish apologia for poetry in the United States."
In addition to the rest of the Dorn section, I'm looking forward to Andrea Brady's response to New British Poetry (see Mayhew's comment) and new poems by William Fuller.
After the intro, we get Dorn's "Tribe", which begins with the poetry of origins—"My tribe came from struggling labor / Depression South Eastern Illinois / Just before the southern hills start / To roll toward the coal country"—grows increasingly political, and ends in polemical fireworks while not lapsing from the lyrical.
Then I had a salad for supper, and then I came up here to do this, while KC tired out Vaughn and got her to sleep. Before starting to type though, I happened into Jennifer Dunbar Dorn's "chronicle" of her time working with her late husband on the literary newspaper Rolling Stock, a great little bit of biography that I couldn't put down.
The only other part of CR I've read so far is CSU alum Piotr Gwiazda's fair and balanced review of Robert Pinsky's latest book of criticism. Sympathetic to the book's shortcomings throughout his review, Gwiazda ends with "Democracy, Culture, and the Voice of Poetry (note the singular) is a graceful, passionate, and somewhat snobbish apologia for poetry in the United States."
In addition to the rest of the Dorn section, I'm looking forward to Andrea Brady's response to New British Poetry (see Mayhew's comment) and new poems by William Fuller.
Subscribe to:
Posts (Atom)
