As mentioned earlier, this was the year when half the bands in the world tried to sound like Tears for Fears, or some offshoot. Bear In Heaven were one of them, creating a clutch of New Wave pop gems of great cut and quality. Perhaps the most resonant, and certainly the most reverberant, is the echo-laden, galloping 'Sinful Nature' which could almost be Depeche Mode meets Yeasayer. Haunting, romantic, lyrically frank at times, this song made me want to be skinny, twenty, and in a disco falling in love listening to it. Listening to it, I was. The ending is especially sick slash cool.
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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