Glass Essay Poetry Foundation

Glass Essay Poetry Foundation-28
Perhaps you know I woke with a hangover, alone in bed.

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I’ve come to think of these books as dramatizing, even embodying thinking in sentences and lines, at least as Elizabeth Bishop (again) advanced the notion when she wrote that she wanted to write poems that seize the mind “in action” rather than “at rest.” Here, for instance, is a paragraph by film critic and painter Manny Farber from his 1962 essay “White Elephant Art vs. Better Ford films than this have been marred by a phlegmatically solemn Irish personality that goes for rounded declamatory acting, silhouetted riders along the rim of a mountain with a golden sunset behind them, and repetitions in which big bodies are scrambled together in a rhythmically curving Rosa Bonheurish composition.

As Sante continues: “I write prose with a poet’s head. Novels and poems and songs tracking essayistic impulses? —many of these, nearly all of them, steeped in quotations, adaptations, allusions, borrowings, thefts, collaged.

He goes on to say, “I can oppose white supremacy and still rejoice in Gothic architecture”.

Jamaican poet Claude Mckay, renowned for his poem, in his 1914 autobiography had similar sentiments to Cole; “the colour of my friends, nor the colour of their money, nor the colour of their class has ever been much significance to me.

Perhaps you know I wanted someone to talk to, but Lisa was asleep.

Perhaps you know I lifted a corner of the covers, and gazed at her.Perhaps you know I carried Priscilla past a pedestal showing Elvis’ gold-framed sunglasses with the big EP, it was unsettling, I kicked the door shut behind us.Perhaps you know I felt the stirrings of love after our third bottle of wine when I over- heard Priscilla random-dialing, impersonating a hooker.This is a short talk with a long list inside it, mostly in sentences, not lines, or in sentences that occasionally aspire to lines. Wayne’s acting is infected by a kind of hoboish spirit, sitting back on its haunches doing a bitter-amused counterpoint to the pale, neutral film life around him.Lines and sentences: even now, nonfiction—including nonfiction by poets—is approached by readers, and sometimes by writers, chiefly as information, argument, or anecdote, the formal aspects of language and prose a sort of ornamental afterthought, as though the real action of nonfiction transpired peripherally, perhaps reluctantly, through words. In an Arizona town that is too placid, where the cactus was planted last night and nostalgically cast actors do a generalized drunkenness, cowardice, voraciousness, Wayne is the termite actor focusing only on a tiny present area, nibbling at it with engaging professionalism and a hipster sense of how to sit in a chair leaned against the wall, eye a flogging overactor (Lee Marvin). It’s a very, very subjective approach to the past, to a certain time and place. I read a lot of prose, fiction and nonfiction, watch a lot of movies, but everything I know about writing prose comes from reading and writing poems—and this is true of large organization conundrums, such as form, design, and structure, as well as local cavils, such as diction, sounds, pauses, breaks, and rhythm. I’m not a historian—I’ve never pretended to be one—and I’m not giving a definitive account of anything. It’s intended above all else to be an .” For me, as a poet and also as a nonfiction writer—mostly of essays, biography, and criticism—Sante’s observations are immensely appealing, and instantly familiar.No other film critic has written so inventively from inside the moment of a movie.His writing can appear to be composed exclusively of digressions from an absent center.Puns, jokes, lists, snaky metaphors, and webs of allusions supplant arguments.Farber wrenches nouns into verbs and sustains strings of divergent, perhaps irreconcilable adjectives such that praise can look inseparable from censure. Lawrence and Virginia Woolf, is among the few critics of modernism himself to write criticism as a modernist.

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