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Joe Weil

In the Kingdom of Unmatched Shoes

Thumbnail image for In the Kingdom of Unmatched Shoes July 19, 2010

I met him once. Laura runs a reading series out of a Barnes and Noble in New Jersey. I could not believe love could get a true second generation New York poet who had been widely anthologized and published by Wesleyen to come out to a Barnes and Noble in Jersey, but love has some strange powers. There he was, like a rare European bird blown off his migration route by a fierce ocean storm and perching on the neighbor’s satellite dish.

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“Minor” Poets and Imagery

Thumbnail image for “Minor” Poets and Imagery July 13, 2010

Literary theorists use literature as an excuse for ontological truths (or gender, or sexual, or identity issues). This is a legitimate way to ransack texts, but it will not teach you how to write. Ontology begins with detail selection—in terms of word choice, verbal relationships, rhythm. A theorist wouldn’t know what to do with this poem, unless the theorist started to write a book on kinetics in terms of verbal constructs and the cultural bias of admiring athletes as per one’s gender, or class. Minor may only mean a theorist can’t find much to theorize about.

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In Memory of Harvey Pekar

Thumbnail image for In Memory of Harvey Pekar July 12, 2010

Here was a guy with the same ability, in American vernacular prose, to make a drab world come alive–the same ability to make magic from the ordinary that Japanese poets showed in haiku. Harvey gave the urban rust belt, and its daily triumphs and frustrations, a reality, a comic, deadpan glamor. No fiction writers or poets of that time approached. Long before Seinfeld, Harvey Pekar was doing his own small version of Flaubert’s book about nothing.

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Towards A Theoria, Praxis, and Poesis of Modernist/Post Modernist Poetry (A Procedural)

Thumbnail image for Towards A Theoria, Praxis, and Poesis of Modernist/Post Modernist Poetry (A Procedural) June 28, 2010

Lyrical poetry can be very dense. It can even be “high gibberish” (a form of ecstatic speech that does not yield readily to a standard meaning, but may create a mood, an orver all emotional or intellectual atmosphere). It does not usually explain. It is not prone to giving information in an overt and easy way. Why does it beat around the bush? Get to it! Say what you mean! Many a person has turned away from lyric poetry because it refuses to do the one thing people seem to insist on: get to the point! This is exactly where modern poetry wanted poesis to go—to the thing, the object, the point.

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Translations of Irish Triads

Thumbnail image for Translations of Irish Triads June 28, 2010

These are my loose translations of a form in Ireland known as “three things there be.” Long before Saint Patrick came, the Irish thought in threes. They were a triune people, with a Celtic triune God, and they, like most Celts, cast spells, and framed their tales by the magic of threes. I have translated some Triads previously translated by the wonderful Irish poet, Thomas Kinsella.

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Looking at Ballad Form, and the Nature of Voice

Thumbnail image for Looking at Ballad Form, and the Nature of Voice March 31, 2010

We are in traditional ballad country the second Auden writes “As I Walked Out One Evening” (see “The Streets of Laredo”). He is not mocking the structure or form of the ballad (except perhaps the way a lover would tease his beloved); he is reveling in the cliche. He trusts his own ability to have fun with cliché (something Ashbery also trusts).

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The Flaming Poodle of the Mind: Poetry Readings, Vaudeville & Louise Gluck’s Legs

Thumbnail image for The Flaming Poodle of the Mind: Poetry Readings, Vaudeville & Louise Gluck’s Legs March 16, 2010

If I am anything at all, I am a vaudevillian. Considering that vaudville has been stone dead the last 80 years, that’s a hard thing to be, but wouldn’t you want to attend a reading where, first, someone read Elizabeth Bishop’s “One Art” beautifully, followed by a white poodle jumping through a fiery hula hoop, then a great tap dancer, and then a good torch singer doing “Strange Fruit,” topped off by a rousing version of Etheridge Knight’s “All Fucked Up”?

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Joe Weil on Hecht’s “A Hill”

February 25, 2010

[Interview: 2/25/2010]

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A Cuban Sandwich and Levinas

Thumbnail image for A Cuban Sandwich and Levinas February 23, 2010

Suppose you are reading Levinas, having a nice Cuban sandwich, minding your business, thinking about the self, the other, the other self, the otherness of self, the selfishness of other, etc, etc, and the sun slants across the legs of a woman you pretend to have a deep rapport with—striping them apricot. What do you do?

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Tangent

February 17, 2010

On fourth of July, alone in my kitchen and the sound of distant fireworks. I drink cheap Merlot, watch the dark break and enter through the windows. I am all over the Internet, but would rather be all over someone else: a tangent. A tanager. Today, by the river I saw a scarlet tanager. Had [...]

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