Like Stretch Armstrong, or G.I. Joe, but for real, Evel Knievel became an action figure that no boy or girl in North America, and beyond, could ignore - he was the daredevil of our time, and his monicker itself is worthy of acclaim, requiring a P.T. Barnumesque genius for public appeal to conjure up. Snake River Canyon is not the greatest leap into the unknown - death is - and we all make that jump, some not wearing such entertaining armour. Somehow, in his own showbiz, corny way, he made such stoic confrontations with death (he was, after all, the living embodiment of "death defying") more than a stunt - almost a credo.
When you open your mouth to speak, are you smart? A funny question from a great song, but also, a good one, when it comes to poets, and poetry. We tend to have a very ambiguous view of intelligence in poetry, one that I'd say is dysfunctional. Basically, it goes like this: once you are safely dead, it no longer matters how smart you were. For instance, Auden was smarter than Yeats , but most would still say Yeats is the finer poet; Eliot is clearly highly intelligent, but how much of Larkin 's work required a high IQ? Meanwhile, poets while alive tend to be celebrated if they are deemed intelligent: Anne Carson, Geoffrey Hill , and Jorie Graham , are all, clearly, very intelligent people, aside from their work as poets. But who reads Marianne Moore now, or Robert Lowell , smart poets? Or, Pound ? How smart could Pound be with his madcap views? Less intelligent poets are often more popular. John Betjeman was not a very smart poet, per se....
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