Mary Karr and Christopher Robinson discuss Weldon Kees’s poem “1926.”
Mary Karr and Christopher Robinson discuss Thomas Lux’s poem “Tarantulas on the Lifebuoy.”
Mary Karr and Christopher Robinson discuss Czeslaw Milosz’s poem “Late Ripeness.”
Mary Karr and Christopher Robinson discuss Czeslaw Milosz’s poems “On Prayer” and “And Yet the Books.”
Mary Karr and Christopher Robinson discuss Heather McHugh’s poem “I Knew I’d Sing.”
Mary Karr and Christopher Robinson briefly discuss Tomas Transtromer’s poems “Street Crossing” and “Face to Face.”
We were a bit behind on posting the latest Poetry Fix. Now we’re up to date!
Episode 13: Mary Karr and Christopher Robinson briefly discuss Mary Oliver’s poem “Wild Geese.”
Episode 14: Mary Karr and Christopher Robinson briefly discuss John Keats’ poem “This Living Hand.”
Mary Karr and Christopher Robinson briefly discuss baseball haiku.
Mary Karr and Christopher Robinson briefly discuss Terrence Hayes’s poem “Talk.”
Mary Karr and Christopher Robinson discuss William Matthews’s poem “Cheap Seats.”
Poetry Fix Episode 9: Seamus Heaney’s “Digging.”
Episode 8 of Poetry Fix now available.
Episode 7 of Poetry Fix: Robert Frosts’s “Once by the Pacific.”
I hope you’ve been watching Mary Karr and Chris Robinson’s excellent Poetry Fix YouTube Series. It’s the perfect-sized portion of poetry and comment to get you thinking, your poetry juices flowing. Mary Karr is also a great reader/interpreter of the various poems.
I just watched Episode 5 on Louise Gluck’s poem “Mock Orange.” I don’t often remember my first encounter with a poem or poet, but I distinctly remember reading Gluck for the very first time (her book The Seven Ages, and then later Ararat, perhaps my favorite). The power of her voice was overwhelming, and after I got out of my “try to sound like T.S. Eliot phase” I progressed into a “try to sound like Louise Gluck phase.”
Primarily, I tried to imitate Gluck’s minimalism. Minimalist art in general is one of those things that makes people stare in confusion for a few moments before moving on (especially public minimalist art). It seems potent, but also has a sort of inert stoicism. It draws you in by a straightforward opacity. Where exactly, though, does the power lie if there is literally nothing to hang a “message” on? As you might expect, its power lies in the fact that it says so little. Let me explain.
There is a minimalist sculpture I have in mind. Unfortunately, I can’t seem to find it on Google image…so I shall have to describe it. It was three parallel blocks that leaned to the right about 30 degrees. That was it. My first impulse was to scoff. But I stared at it, intent to figure it out.
And I stared some more.
Eventually in frustration I slumped my head in my hand (it so happened) at about 30 degrees to the right. Suddenly, I realized that these three columns were not holding a message in and of themselves, but trying only to get me to tilt my head to the right at about 30 degrees. Then I looked behind the columns at the background and realized that I was seeing things from a different perspective: what the world would look like when your head was tilted at 30 degrees.
Minimalism is not about powerful messages about the nihilism or poverty of the human condition (though it’s certainly easy to think so!). Instead, minimalist art creates a framework through which you view the world. It gives you the bones of the skeleton and then you fill out the flesh. But watch out! The minimalist artist still controls the bones (and hence the body that you have put on them). Minimalism is as silent as the movie frame.
Anyhow, if you haven’t watched the first 6 episodes yet, check it out. It’s poetry for the average human!
Episode 6 of Poetry Fix. Miroslav Holub’s “Ode to Joy.”
Episode 5 of Poetry Fix! Louise Gluck’s “Mock Orange.”