Fitzy and the Revolution (Ishion Hutchinson)
Then it becomes just a poem about race. Can you talk a bit about that relationship between death and desire in [House of Lords and Commons]?. The poems within were written in Paris, Madrid, New York, London, New Orleans, at Cornell, reading from his latest book, House of Lords and Commons. The relationship of poets to money has always been awkward. Your playlist for "House of Lords and Commons" was a thrill to have alongside the There's a line from your poem "Sibelius and Marley" where the Just by going back and forth, it expands my own relationship to the place.
These poets pose much-needed challenges to language and its operation. Youn uses it to suggest landscape, legacy, personal allotment—a tract of land, a work of art, a heritage, a body, a destiny. She evokes a home no longer accessible and a body at times uninhabitable. Collected Poems Marie Ponsot.
In examining the powerful underground life of women, her poetry is both practical and profound. House of Lords and Commons: Farrar, Straus and Giroux, Sept. Pico asks what happens to a modern, queer, indigenous person alienated from ancestral language, religion, and history.
New and Selected Poems, — Rae Armantrout. This generous volume affirms her reputation as one of our sharpest and most innovative writers. Who shapes our identity, and who is in control here? How do we recognize, acknowledge, and honor the changing of who we are? Violet Energy Ingots Hoa Nguyen.
Poems —, Nguyen returns to poems of dailiness and raw humanity. Her language hops and skips, vivid with color, in turn political, ecological, funny, spiritual, and tender. These political poems employ humor to challenge American cultural norms, focusing primarily on racism, social injustice, and inequality. Simultaneously, the poems reach a deeper, personal level as Olzmann carefully deconstructs identity and the human experience, piecing them together with unflinching logic and wit.
House of Water by Matthew Nienow Oct. This debut highlights fatherhood at its peak as it juggles the uncertainty and deeper meaning of everyday life.What is the House of Lords? Jump Start
The hesitant yet curious voice of the poems are deeply entrenched in the familial, yet also refreshingly open about the crush one feels when ideals crash down. Madwoman by Shara McCallum Jan. These resonant poems discover what it means to live, die, and come home again. Focusing on the hard, ephemeral truth of mortality, these poems grip and guide readers into a state of empathy, raising the question of how one lives and endures in the world.
Equal parts fact and folklore, these poems populated by strange characters—Bat Boy, automatons, taxidermied mermaids, snake oil salesmen, and Benjamin Franklin—look to the marvelous and the weird for a way to understand childbirth, parenthood, sickness, death, and joy.
The Art and Life of Horace H. Pippin by Janice N. Reflecting on the art and life of Horace H. Pippin—the best-known African-American artist of his time—Harrington critiques current perceptions surrounding African-American folk art, as well as the absence of key African-American history in present-day curricula.
Reaching from the kitchen table to the stars, Major ruminates on humanness. Questions of culture, ethnicity, and gender—and the denial of their borders—infuse these poems, rich with social and political commentary, and filled with compassion, love, anger, and hope. This new, expanded edition includes nearly new pages of poems, prose, and illustrations. In poems that are witty, touching, and introspective as well as formally inventive, readers find the poet losing his sight, becoming a parent, easing toward middle age with a sense of calm and inevitability.
One of our most challenging and rewarding poets, the pleasure is to simply marvel. Against a backdrop of Facebook, cat memes, and students searching their smartphones for a definition of the soul, Levin draws upon a culture of limited attention spans as it searches for greater spiritual meaning.
Drawing deep from his Kentucky roots, Manning peoples his poems with ordinary and extraordinary rural characters, as he gives voice to a region well-loved and full of tradition. These plainspoken poems rediscover the relationship between talking and thinking as they weave among enthusiastic jags about sex and love, theater, music, New Orleans, numbness, ghosts, wolves, history, violence, rescue, art, marriage, mothers, fathers, and children.
Ecco The Wug Test: Poems by Jennifer Kronovet Oct. In a collection named for a method by which a linguist discovered how deeply imprinted the cognitive instinct toward acquiring language is in children, Kronovet questions whether words are objects we should escape from or embrace. Poems by Ishion Hutchinson Sept.
It contains a good deal of reggae music you love, and you've said that "reggae is scotch bonnet to my rundown.
Ishion Hutchinson on his poetry and the inspiration of Lee 'Scratch' Perry
I think poets would say if they weren't writing they would be playing music. And, it goes back to Walter Pater, who said something to the effect that "all art tends toward the condition of music. That's music; it's kind of a pure form. The purity of it, listening to any kind of musical forms from anywhere in the world, we don't have to necessarily be culturally invested, whether by language or customs, of where it's from, to be moved fully.
The sound alone performs its own form of transformation. When I write, of course, I am using language, so I don't have the outlet of music itself, but I try to listen to the music, the rhythm, the structure of the syllables, the patterning that's necessary to make words be ordered toward a kind of verbal map.
So, music, when I imagine it — you quoted that line — "music dismantles history," performs an internal rebellion.
It's the blood pumping inside. It is not conditioned by outside forces. But it has a powerful way of resisting; it's a form of resistance in and of itself, that is so private. In spite of what's happening in the world, the music gives you a space to retreat into this intense privacy, which is a form of resistance. A great deal of poetry deals with the myth of voyage, and the crossing of the sea — a testing of the will.
Yes, and I would even extend pleasure, and I would intensify pleasure and say joy. I love to rejoice in what is, in making the smallest of things important and larger than life.
Biting into an apple becomes magnificent: As a private reader of poems, you surrender to that joy and are surprised by it, you can't predict where it might take you.
There's always a change that happens to a reader in the reading of a poem. The poem, even if it deals with horrific realities, because of its musical structure, it's always commemorating whatever its subject matter may be, and it elevates that subject matter, and the sadness finds correspondence with joy.
Poetry's Public and Private Languages and reading at the poetry stage at 2 p. How has your voluntary exile and the consequent back and forth between the landscapes of the U. Northeast and the Caribbean informed your work and the way you inhabit the world? It's really fortunate to have that ability to travel back and forth. You pick up various modalities of sounds just because you're physically being transported. There's a certain stillness about memory, and having grown up in this place, I feel like it's this part of me and I know it by instinct, so it's very still.
Just by going back and forth, it expands my own relationship to the place and makes me aware of the things I couldn't see or didn't see because of my proximity. The risk the voyager takes is to discover what's beyond the geographic location of origin, which ends up being an act of self-discovery. That's one of the ways I would think about moving back and forth between the States and back home. But this happened long before I had the opportunity to travel, because of reading and the imagination.
Fall Adult Announcements: Poetry
Can you tell us about the way in which the women you grew up with, and the stories you overheard helped feed your imagination and sense of storytelling? It reminded of a line in your final poem in the collection, "The Small Dark Interior," that "instinct is older than the body. I'm fortunate that literature, for me, is not something that belongs between two pages. Because of spending a lot of time around women as a child, I was privileged to hear stories they told themselves. Lots of times, they weren't talking to other men, just themselves.
I would go and hang out with my male friends and uncles and they had a completely different pitch and different concerns. I loved that, having what can be called these two vicarious insidenesses.
I loved having been exposed to that richness of voice, and voicing, and this was very important to me as someone wanting to become a poet. Perhaps my favorite genre is the dramatic monologue, because you have to be a good listener to write the dramatic monologue, because you are inhabiting the voice of another person. It's not necessarily a monologue, because you are a silent participant, and you get to try on voices, which means a total shift in identity, and that's extremely risky.
It's a form that allows you to not be so wedded to one's own sound and way of being. The poem is in the voice of Douglass' second wife. Harper, a male poet, writes in the voice of a female speaker, and the poem picks up on the historical distance between his time and Douglass'. It's a painful poem, but it works because it tries to envision or imagine what Douglass' second wife would have felt during their marriage and the whole business of what happens to his legacy after he dies. It's a short lyric poem — it doesn't have that history — but you get the naked natural voice as imagined by Harper, and the power of it is that the emotion is so immediate, that if it were a poem that had to explain or construct the discourse around the politics of the moment, it wouldn't work with the emotional gravity it succeeds at.
We may turn to certain poems that guide — to put it broadly.