Skip to main content

Chrissy Williams' review of Andrew Shields' collection from Eyewear

THE ROMANCE OF THE NEW?
I enjoyed Chrissy Williams' review of Andrew Shields' collection from Eyewear. I was surprised though to see quatrains viewed as a traditional form. Well they are but it is also 50 years or more since Olson gave us his projective verse. Poetry cannot be judged by how it looks on the page. I call that the fallacy of form: that somehow some poetic options are more or less quaint. We are post-experiment now.

Conceptual poetics has opened the door to every kind of option. For a poet to return to a stately older form to work in is no less bold or noble than for a person to wear gloves in winter. Sometimes it is cold and the gloves serve well in their chosen task. Poetry reviewers do not understand it seems to me the paradox their instrumental task boxes them into: to describe something heretofore unfamiliar and new.

The critic enters into a rhetorical maze that is a trap: however they wander they aim either to the exit that says original or old hat. But the maze itself is fixed. I try instead not to evaluate in terms of originality which is a bogus pursuit devised by Chevrolet salesmen.

I ask does it sing? Does it serve? Does it bring pleasure? Is it good within its chosen bounds? My kitten will never bark. My dog will not purr. I feed them both.
Post a Comment

Popular posts from this blog

AMERICA PSYCHO

According to the latest CBS, ABC, etc, polls, Clinton is still likely to beat Trump - by percentile odds of 66% to 33% and change. But the current popular vote is much closer, probably tied with the error of margin, around 44% each. Trump has to win more key battleground states to win, and may not - but he is ahead in Florida...

We will all know, in a week, whether we live in a world gone madder, or just relatively mad.

While it seems likely calmer heads will prevail, the recent Brexit win shows that polls can mislead, especially when one of the options is considered a bit embarrassing, rude or even racist - and Trump qualifies for these, at least.

If 42-45% of Americans admit they would vote for Trump, what does that say about the ones not so vocal? For surely, they must be there, as well. Some of the undecided will slide, and more likely they will slide to the wilder and more exciting fringe candidate. As may the libertarians.

Eyewear predicts that Trump will just about manage to win th…

DANGER, MAN

Like a crazed killer clown, whether we are thrilled, horrified, shocked, or angered (or all of these) by Donald Trump, we cannot claim to be rid of him just yet. He bestrides the world stage like a silverback gorilla (according to one British thug), or a bad analogy, but he is there, a figure, no longer of fun, but grave concern.

There has long been a history of misogynistic behaviour in American gangster culture - one thinks of the grapefruit in the face in The Public Enemy, or Sinatra throwing a woman out of his hotel room and later commenting he didn't realise there was a pool below to break her fall, or the polluted womb in Pacino'sScarface... and of course, some gangsta rap is also sexist.  American culture has a difficult way with handling the combined aspects of male power, and male privilege, that, especially in heteronormative capitalist enclaves, where money/pussy both become grabbable, reified objects and objectives (The Wolf of Wall Street for instance), an ugly fus…

OSCAR SMOSHCAR

The Oscars - Academy Awards officially - were once huge cultural events - in 1975, Frank Sinatra, Sammy Davis Jr, Shirley MacLaineandBob Hope co-hosted, for example - and Best Picture noms included The Conversation and Chinatown. Godfather Part 2 won. Last two years, movies titled Birdman and Spotlight won, and the hosts and those films are retrospectively minor, trifling. This year, some important, resonant films are up for consideration - including Hidden Figures and Moonlight, two favourites of this blog. Viola Davis and Denzel Washington will hopefully win for their sterling performances in Fences. However, La La Land - the most superficial and empty Best Picture contender since Gigi in 1959 (which beat Vertigo) - could smite all comers, and render this year's awards historically trivial, even idiotic.

The Oscars often opt for safe, optimistic films, or safe, pessimistic films, that are usually about white men (less often, white women) finding their path to doing the right thin…