When someone says that something possesses the quality of the literary, or refers to the literary or even artistic imagination, they refer, I’ve suggested, to a special sort of imaginative tact: one that apprehends bodily experience. On the one hand, it might be said that not all literature is or should be about the body; on the other hand, it might be said that any … Continue reading 214. (T.S. Eliot)
The Poetry Foundation’s website has a brief essay on Montale, helpful mostly for its generous quotations from critics and from the poet. The consensus among critics, unsurprisingly, is that Montale’s poetry is “difficult.” Here is Ghan Singh: Of all the important twentieth-century Italian poets Montale is the one in whose case it is most difficult to proceed by explicating, through definite formulations and statements, … Continue reading 172. (Eugenio Montale)
Among Eliot’s staunchest and nimblest readers, Christopher Ricks was unrelenting in his 1978 attack on Eliot’s late essay, “What is Minor Poetry?” I offer first a series of quotations from Ricks’ piece, published in Ploughshares: Eliot is probably the only important critic who has bent himself to—or on—the distinction between major and minor, and yet even this master of elusiveness found himself out-eluded. For his … Continue reading 171. (T.S. Eliot)
Showing, earlier this week, some poems I’d written to a critic I admire and trust, I received back some critical suggestions that struck at a peculiar blind-spot: the first-person singular, where it is needed and where not, how it shifts the weight of a poem, dragging a great deal in with it, and excluding a great deal also. To write, for instance, “I would say” … Continue reading 139. (Matthew Arnold)
Friday morning, stuck in Pound’s forty-seventh canto, a student (precocious, ambitious reader) broke me free from the jam(b) I was in: . Wheat shoots rise new by the altar, flower from the swift seed. Two span, two span to a woman, Beyond that she believes not. Nothing is of any importance. To that is she bent, her intention To that … Continue reading 131. (Ezra Pound)
Geoffrey Hill died last week, on June 30, at age 84. Nobody doubts that he wrote some of the greatest English poetry of the twentieth century; but the critical consensus on Hill’s poetry falls out of harmony when confronted with the collections that coincided with its close. William Logan, one of Hill’s stauncher American admirers, is disparaging: “The caterwauling of “The Triumph of Love” (1998), … Continue reading 118. (Geoffrey Hill)
Pound, whose faith in poetry as a force to make something happen was constant and remains invigorating, began his career with poems that realize that possibility not through injunctions to act or imperatives to civilize, but through informing his reader’s “fundamental disposition towards the world.” Though he is opposed Pound ideologically, John Dewey’s phrase for appreciating how Pound’s achievement as an inventive craftsman might be … Continue reading 113. (Ezra Pound)
