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home / the poets / essays / the nuts and the bolts / contact recent negotiations; conceptual and anthological difficulties wherein we pay belated attention to the i'll drown my book anthology of conceptual writing by women and become delightfully intrigued by the work of chus pato but dismayed by that of susan howe. with pictures. going blind with paul celan in which we think about eyes and the lack of sight in four poems from the master's later work. as ever with celan, no precise conclusion is reached but readerly attention is made stabs in the dark are thrust. kind of. david jones' mabinog's liturgy whereby we give some readerly attention to this part of the enduringly brilliant the anathemata and decide that it's a bit naff. we also explain the meaning of this technical term and provide one or two examples. george herbert and faking it in which we self-indulgently fret over the importance of poetic honesty and personal integrity. we pay attention, and give more than a little consideration, to the variance between the poetry and his advice to parsons. coming back to poetry with gawain and the faerie queene in which, after a period of disenchantment, we begin to take delight again in these two remarkable poems, especially in their intelligence and verbal exuberance. simon jarvis and the good poet, bad man problem. in which we let out a personal whine of disappointment and ponder whether a good poem remains a good poem even when the poet is revealed as a vile human being. john peck's canitlena and magnificence . in which we go on at some length about technical elan and inetellectual depth to attempt to show how generally magnificent this major piece of work is. j h prynne interview in the paris review. in which we attempt to provide a partial overview and add some comments as to what the man has to say about being a poet, mao, kazoo dreamboats and more. paul celan's harbour and grandeur . in which we tentatively apply some very old criteria to this daunting poem in order to make a provisional judgement as to sublimity and 'effect'. infusing with j h prynne. again. in which we pay brief attention to our earlier grexit hypothesis re meaning and also attempt an assessment as to poetic quality simon jarvis' jerusalem deleted and long difficulties. in which we attempt to encourage others to attend to the very long and difficult poem, using jd as an example. with a long example, some quotes and much enthusiasm david jones and the importance of reading work aloud. .in which we point to what jones says in his prefaces on the absolute importance of hearing as well as seeing his work. . why sir geoffrey hill is right about the poem. in which we produce nuggets of truth from the critical essays and highlight the ones that we are in vehement and enthusiastic agreement with. geoffrey hill's soul, an entirely opportunistic and subjective view of hill's anxieties as to the posthumous fate of his soul and his various angles on the workings of grace. infusing with j h prynne in which we use many words to attend to a poem from the remarkable al dente collection. by paying some wishful attention we come to the provisional conclusion that this may well be a 'grexit' poem. david jones, in parenthesis as documentary.. . on july 1st, 2016 we try very hard to make a case for the documentary aspect heartbreakingly beautiful work. paul celan's wordwords from timestead . in which we pay some more than sympathetic attention to the use of language in general and compound words in particular in a forlorn attempt to illustrate the all-round brilliance of this allegedly difficult work. kenneth goldsmith's theory . in which we examine a collation of maxims, anecdotes and self-promotions, ttrying very hard to disentangle those things that have value from those that get in the way, let the side down and generally distract. david jones, in parenthesis, the grimly voice and the place of enchantment. . in which we think at some length about these two qualities and set out to locate and attend upon them. the heartbreaking brilliance that is vanessa place's last words. in which we attempt a coherent demonstration of why place's work is so important for the future of the poem and also pay attention to multi-dimensional work, the texas crminal justice system and the need to display the bodies. we also insert a personal note as to the ways in which last words dismantles our emotions. : poets b-t john bloomberg-rissman's latest work, in the house of the hangman is a monstrous account of how we are now by means of a daily 'mash' from many different sources paul celan is recognised as one of the 20th century's greatest poets yet his later poems are mistakenly considered by many to be virtually inaccessible and 'not poetry'. most of his work relates to the holocaust. emily dickinson produced some of the most extraordinary work of the 19th century. her legacy continues to provoke and challenge our modern sensibilities. geoffrey hill has published magnificently obdurate work throughout his long career. he continues to produce poetry that is both complex and inspiring.. simon jarvis produces work that has a readiness to follow its own furrow, there cannot be a wider spectrum than from a radical adventure in free verse, to a poem of 220 pages in metrical, rhyming verse. david jones is one of the best (and most overlooked) poets in any language in the 20th century. his work must be considered as equal to eliot and auden, they thought so too. purdey lord kreiden . i've been following purdey's remarkable work on the claudius app and have grown increasingly impressed by the development of a singular and oddly disturbing ' voice'. john matthias thrives on making the complex look and sound easy. he has that rare gift of being able to say profound things in a straightforward and refreshingly relaxed manner. charles olson was an american poet whose maximus poems represent a grounbreaking shift in the possibilities of poetry as a working through of the relational nature of time and place. john peck's m is a sequence in ten parts that is full of invention. concentrated attention brings the reader to a sense of participation in a world of subtle cadence and great technique. i have in the past referred to vanessa place as the scariest poet on the planet and i'm still of this view as some of her work is implacably brutal in the light it sheds on our world. j h prynne in attending to prynne's incredible work, readers will find that giving very close attention to words and phrases needs to go hand in hand with keeping a close eye on the apparent contexts. keston sutherland in 2010, i wrote abrief introduction to keston's work but now i've tried to produce something more considered which includes his newer work, especially the brilliant odes to tl61p which is simply stunning . michael thomas taren is producing an increasingly accomplished and important body of work which covers a broad range of forms and subject matter with an unusually high degree of technical nous. jonty tiplady is making work that has now gone into a radically innovative and important (crucial) orbit that holds out hope for the future of the poem. most popular david jones' in parenthesis: pts 1-4. reading geoffrey hill's 'mercian hymns'. poetic meaning. j h prynne in the paris review. john peck's cantilena and magnificence. jacques derrida on paul celan and bearing witness reading simon jarvis.

URL analysis for arduity.com

http://www.arduity.com/poets/goldsmith/kennytheory.html
http://www.arduity.com/poets/jarvis/badman.html
http://www.arduity.com
http://www.arduity.com/poets/hill/soul.html
http://www.arduity.com/poets/prynne/index.html
http://www.arduity.com/poets/peck/m.html
http://www.arduity.com/poets/olson/index.html
http://www.arduity.com/poets/gawain/gandfq.html
http://www.arduity.com/poets/jones/readingaloud.html
http://www.arduity.com/poets/jones/mabinog.html
http://www.arduity.com/toolkit/meaning.html
http://www.arduity.com/poets/jarvis/length.html
http://www.arduity.com/poets/bloomberg/index.html
http://www.arduity.com/poets/celan/index.html
http://www.arduity.com/contact.html

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