Ten years into tortuous research surrounding a modest seventy-three-acre plot of toxins sitting quiet some hundred feet from the house where I grew up, diffuse obsessive e-digging struck metal hydroxide sludge. In the wilds of Justia.com, suddenly clear-cut by my more sophisticated search strings or their more precisely targeted algorithms, I came upon a document titled “Town of Oyster Bay v. Occidental Chemical Corp., 987 F. Supp. 182 (E.D.N.Y. 1997).”
Ten years into tortuous research surrounding a modest seventy-three-acre plot of toxins sitting quiet some hundred feet from the house where I grew up, diffuse obsessive e-digging struck metal hydroxide sludge. In the wilds of Justia.com, suddenly clear-cut by my more sophisticated search strings or their more precisely targeted algorithms, I came upon a document titled “Town of Oyster Bay v. Occidental Chemical Corp., 987 F. Supp. 182 (E.D.N.Y.
Those interested in theorizing lyric must tread lightly these days, for a great deal of recent critical energy has been invested in sounding the interpretive contours of this “super-sized” modern genre. Much of this work seeks to disrobe lyric of its transhistorical pretensions, revealing by way of materialist critique that what we took for an enduring genre is actually a product of deeply codified reading practices.
Those interested in theorizing lyric must tread lightly these days, for a great deal of recent critical energy has been invested in sounding the historical and interpretive contours of this “super-sized” modern genre.[1] Much of this work seeks to disrobe lyric of its transhistorical pretensions, revealing by way of materialist critique that what we took for an enduring genre is actually a product of deeply codified — and distinctly post-Romantic — reading practices.
At the function dedicated to reopening the US Embassy in Havana, Richard Blanco read from a poem that declared: “No one is other, to the other, to the sea, whether / on hemmed island or vast continent, remember.”[2] His poem, “Matters of the Sea,” projects optimism about unity and renewal — or is it didacticism? — diplomacy? All of the above?
Look Innocence is important It has meaning Look It can give us Hope against the very winds that we batter against it.
At the function dedicated to reopening the US Embassy in Havana, Richard Blanco read from a poem that declared: “No one is other, to the other, to the sea, whether / on hemmed island or vast continent, remember.”[2]