I've been reading the debut collection from Robert Earl Stewart, Something Burned Along The Southern Border. It is from Mansfield Press and is a handsome book. It's an excellent first collection. I'd published his work over the years at Nthposition and in anthologies and so am pleased to see this finally out. As Emily Schulz says, it maps "a seldom-recorded region of Canada, the joint of Windsor-Detroit". From such a potential bleakness the poet has rescued surreal and darkly witty poems. This is one for last-minute Amazon shopping.
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. What do I mean by smart?
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