Canada's winter-discontent games are whizzing like a snowball with a rock in it. On the one hand, the opening ceremonies folded the Luge tragedy into the pomp like the end of Star Wars with Jacques Rogges solemnly ruling over his quasi-fictive utopia with emotive solidity; on the other hand, the rain has postponed events, Heil lost her golden moment, and Celine Dion didn't sing at the opening, where dysfunction kept some of the pillars slow to rise; on the other hand, KD Lang sang Cohen with genius and it was good to see the fiddle and Who Has Seen the Wind back in pride of place; on the other hand, the display of oil-rich Cannuck bravado was off putting - though what other nation (GB?) would place a slam champ on a pedestal to mouth stirring sub-Cicero corn? The rise of spoken word at the games confirms my Poetry Nation prediction of 12 years ago. Hopefully neither sleet nor Heil will slow the games as they slide on. The black arm bands are the lining of a silver games that so badly wanted to stay golden.
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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