147. (Ishion Hutchinson)

An appropriate title for this post might be “Momentum and Moment in the poetry of Ishion Hutchinson,” but the reason why will not be apparent till the end. Last week, Hutchinson’s House of Lords and Commons won the National Book Critic Circle award for poetry. I’ve written about Hutchinson before on a few occasions, admiring his work more on each. Here is another attempt at catching … Continue reading 147. (Ishion Hutchinson)

146. (John Milton)

Reading Paradise Lost with a student, the chance to see more than before, vicariously through fresh eyes, has been most thrillingly felt in the book where seeing with fresh eyes is the poet’s subject: the fourth, where Satan sees Adam and Eve for the first time, where Eve sees her own reflection, where Satan, dissembling the Angels, is exposed and learns that he is not seen in … Continue reading 146. (John Milton)

145. (James Baldwin)

The thought of there being a distinct American problem, to be worked out by authors in the United States, has never appealed to me. Often, when I considered it, it seemed to be valid mostly in so far as American exceptionalism, from the start, made American authors believe that they must be confronted by a special dilemma of and for expression. Occasionally, I could understand … Continue reading 145. (James Baldwin)

144. (Philip Larkin)

[COMPLETE VERSION.]  A chief complaint against Larkin is the insularity, his reaction to modernism that confuses an affirmation of Hardy’s special and lasting richness with a rejection of the internationalism that characterizes Pound and Eliot. It is the Larkin we see in a conversation with 1964 Ian Hamilton (collected in Further Requirements); asked “Do you read any foreign poetry,” the reply is stodgy and affected: “Foreign … Continue reading 144. (Philip Larkin)

143. (Marina Tsvetaeva)

And, in part, 143. (Elaine Feinstein), since it is Feinstein’s translations (written with the assistance of Angela Livingstone) from the Russian on which I will be relying. Although Livingstone tells us that Tsvetaeva’s voice is “particularly difficult to capture,” Tsvetaeva took a view of poetry that might empower a translator, though it also places a burden of the highest creative expectations on the act of … Continue reading 143. (Marina Tsvetaeva)

142. (Marguerite Yourcenar)

These days especially, everyone ought to know the closing paragraphs of the opening essay, “Faces of History in the Historia Augusta” (1958), in Yourcenar’s collection The Dark Brain of Piranesi and Other Essays: It is not for us, so myopic when it comes to evaluating our own civilization, its errors, its chances of survival, and the opinion of it the future will have, to be astonished that … Continue reading 142. (Marguerite Yourcenar)

141. (Robert Browning)

In most lyric poems of the nineteenth century, the pressure exerted on the language derive from the intense self-consciousness of the speaker: self-accusation, self-awareness, self-doubt, self-affirmation, but almost always occurring with the assumption that the speaker is alone with his or her words, and a solitary encounter with language. Even in the conversation poems of Wordsworth and Coleridge, though another is present, it is not … Continue reading 141. (Robert Browning)