Art

THE THEORY OF EVERYTHING, ABRIDGED

by Ben Fama Aesthetics
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Ben Luzzatto’s THE THEORY OF EVERYTHING, ABRIDGED (UDP, 2010) is one of those rare artifacts that transfers its own actual magic—and it is real magic—until the possessed begins to lift a bit toward the sky.

Immortality (Blogging through Grossman, Part 4)

by Micah Towery Art
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I’ve decided to change my strategy for blogging through Grossman. Not only is it almost impossible to try and successfully capture the first part of the book in any systematic way (the conversation shifts too rapidly and it’s almost maddening to trace any idea), but the second part is so lovely and systematically broken down, […]

“Hour” by Christian Hawkey with drawings

by Simone Kearney Art
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Frank O’Hara’s “To The Poem”

by Ben Pease Art
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As If She Were a Symbol of Something

by Sarah V. Schweig Aesthetics
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Before I post my regularly scheduled post, in honor of St. Patrick’s Day, I give you an excerpt from James Joyce’s “The Dead.”

To Make Bach the Grund of Grundrisse and the Chaconne of a Shocked Shack

by David Shapiro Aesthetics
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Today I thought I should add my secret voice to your evaluations.
Your intelligence may be genius, but remember as my mother saids also always to be nice.
A seventh grade teacher consoled me when I was teased:
You can always tell the genius by the enemies who surround him.

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An Annotated ‘Some Enchanted Evening’

by Stuart Krimko Aesthetics

The Temptations sing ‘Some Enchanted Evening’ and you can read along with an annotated lyric sheet

Roger Scruton on Beauty

by Micah Towery Aesthetics
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I’m planning on doing another entry today about Grossman, but I’m at work and I forgot my copy of Singer. In the meantime, I wanted to share a BBC series that is available on YouTube. A professor I know shared this with me, after I shared a link to Simon Schama’s Power of Art episode […]

A Poetry Comic

by Bianca Stone Art
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Bianca Stone’s Poetry Comic

Seventeen Years Ago Last March: Elizabeth Bishop’s Grand Finale

by Adam Fitzgerald Art
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‘Crusoe in England’ was first published in The New Yorker in 1971, then later collected in ‘Geography III,’ perhaps Bishop’s finest single volume of poems. (Only recently I discovered the title of which was suggested to her by John Ashbery. He had found a little geography textbook of the eponymous name, and sent it to her, thinking she’d rather enjoy it. Turns out, she did.)

The Lost Painting

by Allison Power Art
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In honor of the 400th anniversary of Caravaggio’s death, the Scuderie del Quirinale in Rome is hosting the most major exhibition of his work in, well,—ever.

Insomnia

by Alina Gregorian Art
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where the heavens are shallow as the sea

very belatedly

by Zachary Pace Art
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THE WAY THINGS WORK

Big Sur, Elephant Seals, Hector Viel Temperley

by Stuart Krimko Art
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When you drive south through Big Sur, you must stop and see the elephant seals at Piedras Blancas. There were huge males on the beach on Tuesday, maybe 15 feet long, with doe-like black eyes and crumpled snouts that look like a baby bird has perched on their faces.

Some Works by Henry Darger

by Simone Kearney Art
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Blogging through Grossman, Part 3: Poetic Promiscuity.

by Micah Towery Art
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We recent poets have two great tools at our disposal: freedom of poetic license, and freedom of publishing. Generally, we can say whatever we want, and get a significant number of people to hear what we have to say. The question is whether this freedom has led to better poetry or degeneration. Perhaps that’s not the best way to put it. The question should be, even if somebody is doing something amazing and new in poetry, would we even see it? Will we travel all this way to find that we really did need the gatekeepers of poetry??

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