By Alice Notley
Coming After gathers serious items by way of acclaimed poet Alice Notley, writer of Mysteries of Small homes and Disobedience.Notley explores the paintings of second-generation manhattan college poets and their allies: Ted Berrigan, Anne Waldman, Joanne Kyger, Ron Padgett, Lorenzo Thomas, and others. those essays and studies are one of the first to accommodate a iteration of poets infamous for his or her refusal to criticize and theorize, assuming the stance that "only the poems matter." The essays are characterised via Notley's powerful, compelling voice, which transfixes the reader even in the course of expert aspect. Coming After revives the potential for the readable publication of feedback.
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They are strong and fascinating poems, new and old at the same time, since they At so easily between Padgett’s older works, yet feel difAcult to talk about the way really new work does. Padgett’s work is unique in American poetry precisely in its fusion of novel imagery, humor that’s based in both New York and his native Oklahoma, and a various musicality: who else has done that? His poems are weighty, meant, and superbly entertaining. His beautiful prose poems represent an effort to expand his articulative possibilities so that he will be able to continue to say what he knows.
The Arst sonnet sequence, bearing the title of the whole section, is probably the prettiest and most classical. It makes use of material from Lewis Carroll, Robert Creeley, Jack Clarke, Piero Heliczer, Ted Berrigan, Cavalcanti, Joanne Kyger, Sir Thomas Wyatt, Edwin Denby, Petrarch, Jouni Inkala, Tom Raworth, Gunnar Harding, and the author: underground trees slow darkness and fear has lien upon the heart of me magpie steals silver spoon it is gone forever like the eyeglasses of the less fortunate in a terrifying gray light from the future the carnival continues a place where a sad horde of such as love and whom love tortures point to the moon and break it The second sequence, “Small Door at Far End,” only four sonnets long, comments on recent twentieth-century artistic and critical practices: 44 time for your take, you assholes ..........................
And how many times have people said to me, after a poetry reading, “I really liked some of your images,” when I’d used none! “Images” meant “language” for those people, the complex of sound, reference, and meaning aroused by a complex diction. Furthermore the reader’s mind is unpredictable, free, as to what it will see, reading a description in poetry. In a predominantly visual poem like Williams’s “The Red Wheelbarrow,” my own strongest visual impression is associated with the word “glazed” (“glazed with rain / water”) and is of something rather indeAnably white and patina-like but nowhere, or maybe on a red unboundaried surface, but like glue not like rain as it should be.
Coming After: Essays on Poetry (Poets on Poetry) by Alice Notley