Poetry and Poetics

Garbage Picking in Eliot’s Waste Land, Part 3

by Tom Bair Poetry and Poetics
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The notes that position Eliot the person in various locales, should be read as a concession from Eliot. The impersonal poetry in impossible.

What do I mean when I call myself a Catholic poet?

by Joe Weil Poetry and Poetics
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To me the only true failure, and it is an aesthetic failure more than a moral failure, is to be blind to the beauty that lies embedded in the ferocity, and merciless vitality of life itself–the risen Lord in the daily and lowly and broken sprawl of things.

mUutations: Auden

by Micah Towery Poetry and Poetics
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The conflict between eternity and time is deeply embedded in the consciousness of human persons.

More Rhetorical Devices

by Joe Weil Poetry and Poetics
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Language is often a hopeless (thank God) matter of almosts that fail to be 100 percent accurate

mUutations: Matthew Zapruder

by Brooks Lampe Poetry and Poetics
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I’ve been thinking about what Robert Kelly wrote in the early 60s about each image in a poem having “its field of force, its shadow moving darkly through the poem.”

On Rhetorical Devices and Their Use

by Joe Weil Poetry and Poetics
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If you want to escape all rhetoric, you are out of luck.

Teaching Poetry: Obedience vs. Conformity

by Joe Weil Poetry and Poetics
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We must teach our students to reinvent the wheel over and over again, to go back to origins and test them.

Garbage Picking in Eliot’s Waste Land, Part 2

by Tom Bair Poetry and Poetics
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More, the poem’s resolution enables professors to flee its fragments without worry.

Double Contact: William Carlos Williams

by Joe Weil Poetry and Poetics
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Stating the obvious is not easy.

Garbage Picking in Eliot’s Waste Land, Part 1

by Tom Bair Poetry and Poetics
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Eliot out-dueled the English until they erected his memorial in Westminster Abbey next to the graves of Dryden, Tennyson, and Browning; men Eliot spent his life burying.

Poetry as Fun

by Joe Weil Poetry and Poetics
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Most poetry, before the 20th century was meant to be relational. Modernism and post-modernism decided to disconnect from this relational dynamic.

Songs That Influenced My Poetry

by Joe Weil Poetry and Poetics
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My first and last love are songs.

Poetry Scenes: Chicago

by Connor Stratman Poetry and Poetics
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When I’m asked about poetry in Chicago, I’m inclined to reply with the old Quaker response: “I don’t know what you’re talking about.”

A Grumpy Old Man Laments

by Joe Weil Poetry and Poetics
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I am a “mutt,” a cut up, a clown. Clowns are trained to run the emotional registers from funny to sad, from sublime to raunchy. Clowns believe that these mixed registers provide the ontological truth of existing.

Folk and Commodity, Part Two

by Joe Weil Poetry and Poetics
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A true folk artist wouldn’t worry about the purity of what he was doing.

On the differences between folk and commodity art, as per slam and academia

by Joe Weil Poetry and Poetics
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I read Williams the same way I read vampire comics: for pleasure and for the purposes of theft. This is the folk art way, and it survives commodity art even when it is packaged and sold.

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