Hart Crane

“What Becomes of Us as We Read?”: Ashbery and Ethical Criticism

by Andrew Field Poetry and Poetics
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What are some reasons why we read poetry? Why turn to a poem over a novel, a play, a philosophical treatise?

On the Bias Against Narrative Poetry

by Joe Weil Poetry and Poetics
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Many young poets can not accept that telling a story, or relating some sort of narrative arc is conducive to the highest aims of poetry.

A Thing with Feathers: Concrete and Abstract

by Joe Weil Poetry and Poetics
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We have seven hues, a silver gyre, seven swords of vision, and a prophet’s flaming tyre. Beats me as to what Campbell means, but almost all lyrical poems contain such moments of high gibberish.

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Terrible Eyes: On a Newly Discovered Photograph of Arthur Rimbaud

by Adam Fitzgerald The Other

I followed deadpan Rivers down and down,
And knew my haulers had let go the ropes.
Whooping redskins took my men as targets
And nailed them nude to technicolour posts.

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Paparazzi

by Adam Fitzgerald The Other

“When we define the Photograph as a motionless image, this does not mean only that the figures it represents do not move; it means that they do not emerge, do not leave: they are anesthetized and fastened down, like butterflies.”

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??