A Quote by Chase Twichell
In Advance of All Parting is a tough, unsentimental examination of marital grief. Musically elegant and inventive, understated and passionate, the poems give us a profound glimpse into how the events of a life can form a center of gravity that fixes the self in its force field. Theres a cold, truth-telling clarity about them that makes them as unsettling as they are beautiful. Ansie Baird has created a richly-drawn world in which this elemental drama plays out, and the result is vivid, startling poems in which pain has left its indelible tracks.
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My obsessions tend to cluster, so I often have families of poems in which only a couple of them make it to the book. It can be satisfying to banish poems to my "crappy poems" file.
With ferocity and extraordinary craft, Lizzie Harris has made a book of poems that resonates far beyond the personal stories it tells. Stop Wanting reveals, in every lyric, its author's profound metaphorical gifts. In its ironies and intensities, it brings to mind a writer like the young Sylvia Plath, though what is startling about Harris' s work is the way it combines those gifts with a muted, deft self-awareness. Most of all, these are wonderfully shaped, powerful, and surprising poems-a startling debut.
I love chapbooks. They're in some ways the ideal form in which to publish and read poems. You can read 19 poems in a way you can't sit down and read 60 to 70 pages of poems.
My poems please the brave:
My poems, short and sincere,
Have the force of steel
Which forges swords.
Rational thinking which is free from assumptions ends therefore in mysticism. To relate oneself in the spirit of reverence for life to the multiform manifestations of the will-to-live which together constitute the world is ethical mysticism. All profound world-view is mysticism, the essence of which is just this: that out of my unsophisticated and naïve existence in the world there comes, as a result of thought about self and the world, spiritual self-devotion to the mysterious infinite Will which is continuously manifested in the universe.
Well it is certainly the case that the poems - which were in fact published during Shakespeare's lifetime - are weird if they began or originated in this form, as I think they did, because the poems get out of control.
These are crystalline - oftentimes incandescent - translations of Juarroz's powerful metaphysical poems where eternity and silence jut up against a world where “writing infects the landscape” and there are “more letters than leaves” - The kind of match one hopes for where both the translator and the poet are in luck; new poems which don't leak and yet old poems in which the original passion shines.
My favorite word is clarity...clarity...clarity. And the critical clarity is what is the transformation that is going to take place in the customer's life or work when they buy and use your product? And how profound is that? How important is that? You know the old saying, "If you could come up with a cure for cancer you'd be a billionaire by the end of the week" because of that profound result.
I do bring my teaching together with my writing. I make students write in class, and do the same prompts I give them. I'm always on the lookout for teaching poems - poems that inspire me and my students to write poems in response.
Precise, graceful, and generous, the poems in SuperLoop, seem to be born out of a deep, careful attention and a profound compassion. Sometimes the quiet observer, sometimes the kid in the center of the messed-up carnival, these poems are the fireflies you’ve missed all winter, the longed-for return of the bees. Unaffected and inherently hopeful, Callihan’s work is as merciful as it is moving.
I write poems for children to help them celebrate the joy and wonder of their world and to look at their lives from the inside out. I write humorous poems to tickle the funny bone of their imaginations.
What I like about prose poems is that they seem to make people uncomfortable - people want to define them, justify them, attack them. Prose poems are natural fence-sitters.
When poets die, other poets take it personally, almost as an affront. A lot of us "left behind" are thinking that poetry is the one thing keeping us alive and present, so what does it mean when one of our ranks chooses to end his or her life? There's an anger beneath the grief, you know? That anger and grief, in turn, breeds other poems from those of us left behind.
It's true, there aren't many explicit references to Canada in my book. And not many explicit references to the U.S., either. I try to fill my poems with enough real, observed detail that the poems create a believable world - but I don't write poems for the sake of telling my own story. My life is not important or interesting enough to warrant that kind of documentary. Instead I try to use my experience as a way of understanding situations that are common to many people. I want readers to project their own lives onto my poems.
How can they be delivered from the life of self, who are not willing to abandon all their possessions? How can they believe themselves despoiled of all, who possess the greatest treasure under heaven? Do not oblige me to name it, but judge, if you are enlightened; there is one of them which is less than the other, which is lost before it, but which those who must lose everything have the greatest trouble in parting with.
It is a function of creative men to perceive the relations between thoughts, or things, or forms of expression that may seem utterly different, and to be able to combine them into some new form. Britten's Nocturne, for example, which unifies musically a group of poems by different hands, is a notable example of his power to connect the seemingly unconnected.
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