Some thoughts on the line in poetry
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
Two problems, first of beginning, then of cohering, beset me as I worried the topic of this talk. Beginning and cohering, obviously, elementary features of typical expository forms, but problematic, more so for a topic that one finds, at the same time, fundamental and elusive, elusive because fundamental, in one’s own practice of reading and writing.
But here are three thoughts to possibly begin with:
Geomantic riposte: 'Oyama Pink Shale'
Born in Tisdale, Saskatchewan, and currently an inhabitant of the Okanagan “wild” in Kelowna BC, and self-identified in the company of poet George Stanley as a staunch “aboutist,” Sharon Thesen is indeed a literary rara avis whose score of witty, entertaining and insightful poetry books are balanced by solid editorial and academic contributions, including two editions of The New Long Poem Anthology, a Governor-General’s Award-winning edition of Phyllis Webb’s poetry (The Vision Tree), and with co-editor Ralph Maud, two books of correspondences between the poet Charles Olson and book designer Frances Boldereff — the most recent being After Completion: The Later Letters of Charles Olson and Frances Boldereff.