There was a quite good retrospective little essay by Tobias Jones on the North American crime writer, Ross Macdonald, in the Guardian recently. Macdonald has been one of my favourite novelists since playwright Morwyn Brebner turned me on to his work over twenty years ago. For those who love Chandler, Macdonald does deepen that oeuvre. I went to Foyles, the UK bookstore, the other day, to see how Macdonald was doing. There was only one of his books available, whereas the crime shelves featured more than a dozen books by most well-known crime authors. It seems his rep may have flagged, at least over here. Of his many classic books, The Blue Hammer, his last of the Lew Archers, moves me the most. I find the key trope almost unbearably moving.
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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