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It is the next generation plus one that will find itself in extremis. Groves are generative grammar. Nothing but your word. Faith in Public Life: My daughter in language but not yet of language—of thrips and chirps and splutters and warbles and ululations and giggles and coughs and never too far from tears.


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The reader's encounter with it doesn't complete the poem; if anything, poems are repellent, experiences on the page that fling the reader back out into the moment. She is there; he even marries her; but the marriage itself is a kind of apostrophe or elegy to the dead feelings the real Odette has come to represent. When I write a poem, the language is primary; when I write a story, representation of an imaginary world takes precedence, though the most vivid representations, or images, are those that pull some participatory impulse out of the reader to make them real. Published on June 25, The oyster is not so much addressed as described, and yet that description contains a kind of deification, a spiritualization achieved paradoxically through Ponge's dry, pseudo-scientific attention to such physical details as the ruggedness of the shell's exterior and the pearliness of its interior. Break through to the cogito , break it open?


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If Ginsberg embarrasses he embarrasses by his warmth and vulnerability and nervous joy in living. Kaddish , in other words, comes as close as any American poet can to presenting something like the unrepresentable horror of the war, something which can otherwise only be given in the testimony of survivors, the only discourse unbarred by the Adornian dictum "To write poetry after Auschwitz is barbaric. Published on June 19, But it's the achievement that makes it look simple. Breaking toward the real? And yet the war machine marches on unfazed, sustained as it is by a subtly self-distributed myth of accumulation and enclosure that retains all the mystification of myth while discarding its traditional forms. William James, with stingers.


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