Poetry London Spring 2010 No. 65 - among many other interesting things - includes a review of the Oxfam DVD Asking A Shadow To Dance, directed by Jennifer Oey, produced by Martin Penny, with 35 poets selected by yours truly. The reviewer, TS Eliot-prize winner, Philip Gross, says, "the project does good service both to Oxfam and to poetry." Also reviewed is my debut British collection, Mainstream Love Hotel, from tall-lighthouse (2009). Julia Bird, Salt poet and good egg, argues that "Swift's poems become truly spirited and involving" when the experimental and lyric fuse, and spots the "verbal refractions" that either "illuminate or merely dazzle" and notes the "skilled and deliberate" formal structuring of the collection. She singles out the poem 'Green Girl in Vermont' for being "endlessly re-readable". Read it for yourself.
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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