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Seemingly disconnected things envisioned as unified: this is the surreal experience of the “marvelous” or the Deep Image experience of the deep image.

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.

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.

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

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.

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

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.

Mary Karr and Christopher Robinson briefly discuss Tomas Transtromer's poems "Street Crossing" and "Face to Face."

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.


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.

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.

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.

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.

When the TV came / We wept

Some days in a writing workshop should be like rainy days with a coloring book.

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.