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The Lower East Side Poetry Scene in the 1960s
This landmark book, together with its accompanying CD, captures the heady excitement of the vibrant, irreverent poetry scene of New York's Lower East Side in the 1960s. Drawing from personal interviews with many of the participants, from unpublished letters, and from rare sound recordings, Daniel Kane brings together for the first time the people, political events, and poetic roots that coalesced into a highly influential community. From the poetry-reading venues of the early sixties, such as those at the Les Deux Mégots and Le Metro coffeehouses to The Poetry Project at St. Mark's Church, a vital forum for poets to this day, Kane traces the history of this literary renaissance, showing how it was born from a culture of publicly performed poetry. The Lower East Side in the sixties proved foundational in American verse culture, a defining era for the artistic and political avant-garde.
The voices and works of John Ashbery, Amiri Baraka, Charles Bernstein, Bill Berkson, Ted Berrigan, Kenneth Koch, Bernadette Mayer, Ron Padgett, Denise Levertov, Paul Blackburn, Frank O'Hara, and many others enliven these pages, and the thirty five-track CD includes recordings of several of the poets reading from their work in the sixties and seventies. The Lower East Side's cafes, coffeehouses, and salons brought together poets of various aesthetic sensibilities, including writers associated with the so-called New York School, Beats, Black Mountain, Deep Image, San Francisco Renaissance, Umbra, and others. Kane shows that the significance for literary history of this loosely defined community of poets and artists lies in part in its reclaiming an orally centered poetic tradition, adapted specifically to open up the possibilities for an aesthetically daring, playful poetics and a politics of joy and resistance.
All Souls: Essential Poems brings together work that reflects the interweaving of history, memory, and the indelible bonds between living and dead that has marked the output of Louisiana Poet Laureate Emerita Brenda Marie Osbey. Comprising poems written and published over the span of four decades, this thematic collection highlights the unity of Osbey’s voice and narrative intent.
The six sections of the book reveal the breadth of her poetic vision. The first, “House in the Faubourg,” contains poems focused on the people and places of Osbey’s native New Orleans, and the penultimate section, “Unfinished Coffees,” examines the Crescent City within a broader, more contemporary meditation on culture. “Something about Trains” features two suites of poems that use trains and railway stations as settings from which to inspect desolation, writing, and memory; and “Little History, Part One” recounts tales of European settlement and exploitation of the New World. The poems in “What Hunger” look at the many facets of desire, while “Mourning Like a Skin” includes elegies and poems addressing the lasting presence of the dead.
Dynamic and unflinching, the poems in All Souls speak of a world with many secrets, known “only through having learned them / the hardest way.”
The Poetry of Louis Dudek
A passionate believer in the power of art—and especially poetry—to influence and critique contemporary culture, Louis Dudek devoted much of his life to shaping the Canadian literary scene through his meditative and experimental poems as well as his work in publishing and teaching. All These Roads: The Poetry of Louis Dudek brings together thirty-five of Dudek’s poems written over the course of his sixty-year career.
Much of Dudek’s poetry is about the practice of art, with comment on the way the craft of poetry is mediated by such factors as university classes, public readings, reviews, commercial presses, and academic conferences. The poems in this selection—witty satires, short lyrics, and long sequences—reflect self-consciously on the relationship between art and life and will draw readers into the dramatic mid-century literary and cultural debates in which Dudek was an important participant.
Karis Shearer’s introduction provides an overview of Dudek’s prolific career as poet, professor, editor, publisher, and critic, and considers the ways in which Dudek’s functional poems help, both formally and thematically, to carry out the tasks associated with those roles. Comparing Dudek’s reception to that of NourbeSe Philip, Marilyn Dumont, and Roy Miki, Frank Davey’s afterword locates Dudek in a pre-1980s version of multiculturalism that is more complex than many critics would have it. According to Davey, Dudek broadened the limits on the possible range and type of poetry for subsequent generations of Canadian writers.
Using the confluence of rivers in Pittsburgh as a metaphorical lens, Allegheny, Monongahela probes the ruinous misalignment between the external and internal lives of two sisters and their childhood in Western Pennsylvania. Their complex and difficult relationship is the spine of the collection, told obliquely through a series of sonnets and ekphrastic meditations on the paintings of Georgia O'Keeffe: the ways in which they separately navigate a violent family history that reverberates through their present and futures; their polarized impulses toward creativity and self-destruction. Rooted in a mutable, watery landscape that is not consistently recognizable, Allegheny, Monongahela investigates the collisions between the world and the self, the fissured identities that result, and the ways in which art may heal or fail to heal the cracks.
The full-length debut from francine j. harris, allegiance is about Detroit, sort of. Although many of the poems are inspired by and dwell in the spaces of the city, this collection does not revel in any of the cliché cultural tropes normally associated with Detroit. Instead, these poems artfully explore life in a city where order coexists with chaos and much is lost in social and physical breakdown. Narrative poems on the hazards, betrayals, and annoyances of city life mix with impressionistic poems that evoke the natural world, as harris grapples with issues of beauty and horror, loyalty and individuality, and memory and loss on Detroit’s complicated canvas. In twelve sections, harris introduces readers to loungers and bystanders, prisoners’ wives, poets pictured on book jackets, Caravaggio’s Jesus, and city priests. She leads readers past the lone house on the block that cannot be walked down, through layers of discarded objects in the high school yard, and into various classrooms, bars, and living rooms. Shorter poems highlight the persistence of nature—in water, weeds, orchids, begonias, insects, pigeons, and pheasants. Some poems convey a sense of the underbelly, desire, and disgust while others treat issues of religion, both in institutional settings and personal prayers. In her honest but unsentimental voice, harris layers personal history and rich details to explore how our surroundings shape our selves and what allegiance we owe them when they have turn almost everything to ashes. Throughout allegiance, harris presents herself as an extraordinarily perceptive poet with a compelling and original voice. Poetry lovers will appreciate this exciting debut collection.
The Renaissance Tradition to Paradise Lost
Literary allegory has deep roots in early reading and interpretation of Scripture and classical epic and myth. In this substantial study, Mindele Treip presents an overview of the history and theory of allegorical exegesis upon Scripture, poetry, and especially the epic from antiquity to the seventeenth and early eighteenth centuries, with close focus on the Renaissance and on the triangular literary relationship of Tasso, Spenser, and Milton.
Exploring the different ways in which the term allegory has been understood, Treip finds significant continuities-within-differences in a wide range of critical writings, including texts of postclassical, patristic and rabbinical writers, medieval writers, notably Dante, Renaissance theorists such as Coluccio Salutati, Bacon, Sidney, John Harrington and rhetoricians and mythographers, and the neoclassical critics of Italy, England and France, including Le Bossu.
In particular, she traces the evolving theories on allegory and the epic of Torquato Tasso through a wide spectrum of his major discourses, shorter tracts and letters, giving full translations. Treip argues that Milton wrote, as in part did Spenser, within the definitive framework of the mixed historical-allegorical epic erected by Tasso, and she shows Spenser's and Milton's epics as significantly shaped by Tasso's formulations, as well as by his allegorical structures and images in the Gerusalemme liberata.
In the last part of her study Treip addresses the complex problematics of reading Paradise Lost as both a consciously Reformation poem and one written within the older epic allegorical tradition, and she also illustrates Milton's innovative use of biblical "Accommodation" theory so as to create a variety of radical allegorical metaphors in his poem.
This study brings together a wide range of critical issues -- the Homeric-Virgilian tradition of allegorical reading of epic; early Renaissance theory of all poetry as "translation" or allegorical metaphor; midrashic linguistic techniques in the representation of the Word; Milton's God; neoclassical strictures on Milton's allegory and allegory in general -- all of these are brought together in new and comprehensive perspective.
Almanac is a collection of lyrical and narrative poems that celebrate, and mourn the passing of, the world of the small family farm. But while the poems are all involved in some way with the rural Midwest, particularly with the people and land of the northwestern Illinois dairy farm where Austin Smith was born and raised, they are anything but merely regional. As the poems reflect on farm life, they open out to speak about childhood and death, the loss of tradition, the destruction of the natural world, and the severing of connections between people and the land.
This collection also reflects on a long poetic apprenticeship. Smith's father is a poet himself, and Almanac is in part a meditation about the responsibility of the poet, especially the young poet, when it falls to him to speak for what is vanishing. To quote another Illinois poet, Thomas James, Smith has attempted in this book to write poems "clear as the glass of wine / on [his] father's table every Christmas Eve." By turns exhilarating and disquieting, this is a remarkable debut from a distinctive new voice in American poetry.______
From Almanac:THE MUMMY IN THE FREEPORT ART MUSEUM Austin Smith
Amongst the masterpieces of the small-town Picassos and Van Goghs and photographs of the rural poor and busts of dead Greeks or the molds of busts donated by the Art Institute of Chicago to this dying town's little museum, there was a mummy, a real mummy, laid out in a dim-lit room by himself. I used to go to the museum just to visit him, a pharaoh who, expecting an afterlife of beautiful virgins and infinite food and all the riches and jewels he'd enjoyed in earthly life, must have wondered how the hell he'd ended up in Freeport, Illinois. And I used to go alone into that room and stand beside his sarcophagus and say, "My friend, I've asked myself the same thing."