371. (William Wordsworth)

What opens when “pattern,” rather than “form” is allowed to guide our reading of literature? It might be thought a … More

370. (Samuel Johnson)

Lately, I’ve been thinking—as a teacher and reader of criticism—about how criticism depends on discerning and working out various puzzles. … More

369. (William Shakespeare)

Identity, though it dances to many tunes, stands on two legs: commitment and recognition. In the recent work on Shakespeare … More

368. (William Shakespeare)

“How ‘blow’? How ‘blow’? Speak to be understood”—demands The Princess to Boyet in the final act of Love’s Labour’s Lost. … More

367. (Giacomo Leopardi)

Leopardi’s “La Sera Del Di Festa” (“The Evening of the Holiday” (that translations not one to which I will refer, … More

366. (John Milton)

In a work of literature, rightness of feeling coincides with a feeling of rightness; authors apprehend just what and how … More

365. (Stevie Smith)

In my last post on Stevie Smith, I suggested that the poet writes from a perspective of innocence, translating into … More

364. (Stevie Smith)

It might be tempting to think Stevie Smith is putting on an act; with such a thought, we might be … More

363. (Robert Duncan)

A Poem of Despondencies . We go whatever route to run un-      obstructed. A city without seasons may bug … More

362. (T.S. Eliot)

The problem of criticism—and the study of criticism—is what to say about, how to reflect on and make sense of, … More