Language as Maternal

by Barry Schwabsky on January 18, 2015

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George Oppen published his first book, Discrete Series, in 1934; his second, The Materials, emerged 28 years later, in 1962. But even Oppen and Bunting were raring to go in comparison to Wong May, whose third collection of poems, Superstitions, came out in 1978.

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Nicholas Moore, Touched by Poetic Genius

by John Yau on January 11, 2015

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Twenty-five years ago, Anthony Rudolf said it best in his “Preface” to the second edition of Nicholas Moore’s Spleen (1990): “The neglect of Nicholas Moore, a complex, many-sided, mysterious and disturbing poet is, well, a complex, many-sided, mysterious and disturbing phenomenon.”

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Post image for Language Lessons: The Poetry of Bob Brown

In his 1974 anthology Revolution of the World: A New Gathering of American Avant Garde Poetry 1914–1945, Jerome Rothenberg introduced American poet Bob Brown to those of us of a certain generation, hinting at the wealth of visual poems the man had created and describing his writing, based mostly on the poet’s 1916 collection, My Marjonary (announced for publication by my own Green Integer press), as bearing close kinship with the later New York School writers.

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“Teeth” by Peggy Robles-Alvarado

by Joe Pan on December 31, 2014

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Our poetry editor, Joe Pan, has selected a new poem by Peggy Robles-Alvarado for his series that brings original poetry to the screens of Hyperallergic readers. This week we have included a special reading of the poem by the poet.

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Post image for Any Art You Make Can and Will Be Used Against You

Of the 331 people arrested amid last week’s massive New York protests, one is an especially unlikely suspect: Eric Linsker, a poet and adjunct writing professor at the City University of New York.

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Post image for The Golden Mean: Dorothea Lasky and the Well-Adjusted Poem 

Dorothea Lasky is the Ello of poetry. She gives us poems that are cute and zany, but on a clean, ad-free platform that is friendly, complex, and interpersonally sensitive. She is poetry’s golden mean between radical and legible, romantic and classical, interpersonal and impersonal: in other words, she is uniquely poised to transcend the poetry wars.

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Why I Am a Member of the Lee Harwood Fan Club

by John Yau on November 9, 2014

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Mark Ford’s blurb on the back of Lee Harwood’s most recent book of poetry, The Orchid Boat (London, Enitharmon, 2014), inspired me to look up the original review from which it was quoted.

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Post image for Sense of an Ending: Harvey Shapiro’s A Momentary Glory

When I recall the poet Harvey Shapiro, who died not long before his eighty-ninth birthday in January 2013, I remember having lunch with him on a sweltering August afternoon in 2001, New York City’s hottest day in twenty-five years, or so the radio said.

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Eric Baus,

The Tranquilized Tongue (City Lights Books, 2014), Eric Baus’s fourth book, is his best yet. It consists of more than sixty compact prose poems, some of which are only one sentence long, and with none as long as the first one, “The Illuminated Egg,” a single block of ten sentences.

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Glow-in-the-Dark Jigsaw Pieces

by Barry Schwabsky on August 2, 2014

Arthur Sze,

I have a habit, when reading a good book of poetry, of looking for the places where the poet seems to be reflecting on his or her own sense of what poetry is. Arthur Sze, one of my favorite poets, writes, “If I sprinkle iron filings onto a sheet / / of paper, I make visible the magnetic lines / of the moment.”

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