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Everything

To carve a face

November 7, 2010
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Cut triangles with the tip of your knife for eyes, pairs of triangles on each side of each eye. Connect them with thin, arching lines, cutting a curl of wood away, leaving a circle remaining, a mound, a pupil, inside. Practice until you have a whole boards of eyes.

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How to Teach Writing to Beginners (Towards a Different Kind of Workshop, Part IV)

November 5, 2010
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Russian novelists exhausted every eye color in the 19th century. Pop song writers are the only people who can make a big deal out of eyes anymore.

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Empathy, Cultural Dialogue, and Dead White Men

November 4, 2010
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“Bloody hell, no! I want to study dead white men!”

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Election Day Interregnum

November 2, 2010
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Nixon went down to the beach and sat in the sand and waited. The waves came in, the waves went out, and he sat there in his suit and waited.

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Jazz, Workshop, Fake books, & Misremembering

November 2, 2010
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By the shores of gitchee goomy, / Stood the noble Hiawatha / quoting from the other shore: / Only this and nothing more.

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Adam Fitzgerald’s “Life of Gorgias”

November 1, 2010
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Not only is Adam a teaching, magazine editing, book publishing maniac, he’s also managed to put together a poem collage in all that spare time he has.

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Poetry Fix Episode 15: Transtromer

October 31, 2010
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Mary Karr and Christopher Robinson briefly discuss Tomas Transtromer’s poems “Street Crossing” and “Face to Face.”

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Andrei Tarkovsky and the Visionary Experience

October 31, 2010
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Andrei Tarkovsky made an important film called Andrei Rublev, about a doubting monk, Russia’s greatest iconographer. The film feels very much like Bergman, from whom much of Tarkovsky’s style emerged. Like Bergman’s Seventh Seal, Tarkovsky’s Andrei Rublev is a slow-paced journey with monks, holy idiots, existential discourse, and symbolic animals.

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On Gene Tanta’s “Critical Introduction to Unusual Woods.”

October 30, 2010
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Even though both the form and content of Gene Tanta’s work are particular to his Romanian-immigrant experience, he insists that his poetry is accessible to everyone. His poetry, he says, exists both as aesthetic objects and political propaganda. This is absolutely true about all poetry, not just his own. Inevitably, literary criticism will come to see that literature is always both.

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How to Edit Poems in a Workshop (Towards a Different Kind of Workshop, Part III)

October 30, 2010
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Break up into groups, something they love to do now-a-days: Line/space coach, image/word choice coach, rhythm/syntax coach, and meaning/subtext coach.

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Death of Self: Memorization

October 27, 2010
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Even just reading poetry aloud is better than reading silently — silent reading is a relatively new phenomenon. But memorizing engages reading, writing, speaking, hearing, and memory. Memory is one of our most complex powers and is interconnected with our other senses. Memorizing actually brings a poem to life.

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Trying to do something important: a couple of thoughts on ambition in a work of art

October 27, 2010
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Melville worries that his ambition will fail, that his picture of the whale will “remain unpainted at the last.” He is always aware he’s always on the verge of the whole thing breaking down, but the ambition is there. Beating underneath. It acts as the will to will it onward, the drive to make it work, a promise to try to do something great, the stakes that are high enough to make it worth while even if the whole thing fails.

Ambition, all by itself, makes the work a thing of value.

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Poetry Comic from the Monsieur Fragments

October 25, 2010
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When the TV came / We wept

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Joe Weil’s Must Have Books (Towards a Different Kind of Workshop, Part II)

October 23, 2010
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Some days in a writing workshop should be like rainy days with a coloring book.

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An Asshole in the Service of Heaven

October 21, 2010
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My aesthetic test for music when I was 13 still applied: if I play a song one hundred times in a row, and, on the last playing, it still has an effect, then it is part of my synaptic hit parade, and can never be vanquished.

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How to Ransack a Poem for Parts, Part II

October 19, 2010
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Voice cannot be ransacked because true voice, unlike tone, may be inconsistent within its range of indicators. The ability to play a modulating voice against a consistent tone is a deep mystery of poetics—especially of what we might call the conversational poem.

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