TB Who, Proust or Cavafy, is the slightly larger inspiration? but the very bifurcation produces sudden illumination and even gaiety. Be that as it may, Kimon and John decided to include a couple of his poems; you can be a creep and still write well. I’ve just spent a couple of weeks in a lush Hollywood editing room, watching the special effects being added. Fiction can get us to experience what we might do if we were braver. You’ve given us batwinged angels with glowing eyes, and transmutations to the peacock form; please describe your muse. He seems to represent the person I might have become if I’d had no talent. For one thing, Cavafy is a miniaturist; for another, he writes without metaphor. I went to Europe and stayed for two and a half years. ten hours laterto the greatnessof Teddy Wilson"After You've Gone"on the pianoin the cornerof the bedroomas I enterin the dark I mean, after all, if art has any advantage over daily life it’s that it allows us to get things right for a change. JM The danger is that the tack becomes a tic, an automatic escape route to the exclusion of all others. Without, I mean, the obligatory pity and terror of say Death in Venice. Main
We get a defense of painting in a later volume, but it doesn’t amount to much. Then we get a more unnerving muse in Nature, who turns out to be a version of Graves’s Triple Goddess; her other names are Psyche and Chaos. Everything he does has distinction. I’m suspicious of the wild, the grandiose, the larger-than-life. Of course it’s a hundred times better than “Kite Poem.” One Christmas I received a book all about the zoology of fish. This passage is followed instantly by the disclaimer “Come now, admit that certain very great/Poets and musicians have been straight;” but one must feel your double mind is at work.
As a final step before posting your comment, enter the letters and numbers you see in the image below. At first his poems seemed cautious except in their implications. But a poet’s mismemory is often revealing … Now, one of your biggest fans I know of is a sewer worker who has a band in which he plays eclectic guitar. « Mark Scroggins on Poetic Fashion | I mean it! Her love of the trivial: birdcages, paper flowers. TB There’s more than one way to break: in the middle of Water Street, in the middle of the poem “To a Butterfly,” the poem’s tone, after a “sincere” beginning, is shattered by the word enough. At first his poems seemed cautious except in their implications. BOMB’s founders—New York City artists and writers—decided to publish dialogues that reflected the way practitioners spoke about their work among themselves. Virtually nowhere in his work will you find metaphor or simile. I love the side of Blake that saw eternity in a grain of sand. JM A lot of metaphor must be in the beholder’s eye. TB Are you yourself in poems, a version of your real self, or the famous “I-character” of the old New Criticism?
To put it too bluntly, I think metaphor is poetry; and if I open to a poem without any, I can’t help trying to see what’s there in a faintly metaphorical or symbolic light. When I was a young firebrand of 40 I implied as much in a note to a professor somewhere, who’d asked for permission to use “Kite Poem” in his forthcoming textbook. Francis Tanning wasn’t writing either; that’s one reason we were both so unhappy. I’m guardedly grateful for this emphasis within the poem. Plywood. JM Hmm. At worst it keeps me from facing my true subject or its implications. Then when the flame forked like a sudden pathI gasped and stumbled, and was less.Density pulsing upward, gauze of ash,Dear light along the way to nothingness,What could be made of you but light, and this?
Whereas in Proust that water table is all but flush with the surface of the page. TB What kind of anthology would you find most meaningful? Clean him up and bring him to tea? Photo © 1991 Rollie McKenna. Merrill’s work has never lost its uncanny capacity to surprise, change direction, or even (as in “Syrinx”) change all directions—, A poet who works fluently in traditional forms, Merrill has been called, by Harold Bloom, “the Mozart of American poetry,” and he has admirers, by now, across a wider political spectrum than most poets living at this fractured moment in the history of poetry. There’s Something Very Male About Me You learn about tempo and tone, the uses of dissonance, modulation into a new key. The latter shows him irrevocably committed to his codes and fellow-agents, working in secret for the mother-tongue. Critic Stephen Yenser has called Merrill’s epic poem The Changing Light at Sandover “a landmark in American literature.”Certainly it’s the only epic poem mostly dictated on a Ouija board to its two mediums, JM and DJ (Merrill and his co-adventurer David Jackson). His First Poems—its sophistication and virtuosity were recognized at once—appeared half a century ago.Over the next five decades, Merrill's range broadened and … Until recently men and women could read and admire each other’s work. Although most of his published work was poetry, he also wrote essays, fiction, and plays. But much more. by Robert Dewhurst. 741 proclaims, as he is (“FILLD/WITH IS IT MANNERS?”) changing into the peacock Mirabell: LOVE OF ONE MAN FOR ANOTHER OR LOVE BETWEEN WOMENIS A NEW DEVELOPMENT OF THE PAST 4000 YEARSENCOURAGING SUCH MIND VALUES AS PRODUCE THE BLOSSOMSOF POETRY & MUSIC, THOSE 2 PRINCIPAL LIGHTS OFGOD BIOLOGY. James Merrill, American poet especially known for the fine craftsmanship and wit of his lyric and epic poems. Merrill has said of his oracular method, “if it’s still yourself you’re drawing upon, then that self is much stranger and freer and more farseeing than the one you thought you knew. Of course that particular baby has been programmed to become a great musician, which sugars the pill—sorry, wrong metaphor. TB Speaking of metaphor—my candidate for the greatest American poet of the 19th century is Emily Dickinson—what do you think?
TB I think everyone could agree with that—why miss out on anything? My computer is working on a memoir of the early 1950s, and I’m simply hanging onto its coattails. JM I wasn’t writing, no. My lines, if you like. But in a time when we who might prefer to read (without hunting in a hundred crannies) all the good poetry we can, feel absurdly cut off from Australian, Jamaican, Israeli, English, Irish, Scotch, and even Canadian poetry written in this language—not to mention all the many American groups a little or a lot off the meandering mainstream—have anthologies become overspecific?
Had broken the perfect silver of my reflectiveness, Looks from behind, where nothing is, cool gazes. Having trouble reading this image?
A kind word for Chardin and Sesshu …. But do you know what poor insecure Mr. Williams did? The sentiment, the metaphors so far developed (and the reader’s yes, isn’t that so) are called abruptly to account and rejected. The human scale of her work, so refreshing next to the modernist “giants” like Pound, or her friend Robert Lowell. Just as new wrinkles in the tradition imply something unforeseeable in the life of a particular artist, so dislocations in a text or a painting can take on the look of shorthand for life itself. So it is that dark is made light – and ‘light’ becomes heavy, dense with implication. This seemed so much like what the artist does-recycling his material, trying it another way if it no longer does the trick. JM No, no, not a bit, that’s just vaudeville. We have so few texts of really high quality—Shakespeare’s Sonnets, some Platonic dialogues, some of Gertrude Stein, Oscar Wilde’s criticism—for gay readers to find themselves in. But back to categories: what special strengths come to your work as a result of your being an American, or being gay?
“Artorius” by John Heath-Stubbs. JM Well … perhaps it’s that JM was at no loss for words. Remember that the speaker of this passage is demonic. “I admire my characters for their ability to do something that I would find far too embarrassing to do myself. JM I can tell you one poem I wish would fall through the cracks. The neighbors don’t even know you’re at home. of coming back
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