April 2, 2016
Sound and Sensibility: or, How to Make Some Noise
My old high school French workbook carried the title Son et sens, or something very close to that, while my English textbook, in an odd coincidence, was called Sound and […]
May 7, 2015
How the West Inverted its Literary Values
In a true missing-the-forest-for-the-trees phenomenon, modern literary criticism has left unremarked, to my knowledge at least, the totally anomalous body of “great literature” that has come out of Europe and […]
December 16, 2014
Patterns of Poetic Revolution
One of the most famous lines in English poetry about poetry is Moore’s “I, too, dislike it.” The interesting thing is just how much the best poets, historically, have […]
July 6, 2013
“Deeply and Irreverently”: How and What to Read
One of the usual defenses of reading widely in the Western tradition (or, say, in 20th century poetry) is that it improves your writing—that it’s the legwork necessary for the […]
January 5, 2013
The Alternate Bard: On Shakespeare’s Narrative Poems
Shakespeare’s narrative poems, Venus and Adonis and The Rape of Lucrece, were dedicated to an aristocrat, and full of the conceits and set-piece sequences and strict stanzas that appealed to […]
December 9, 2012
Short Takes: By the Letter, By the Draft
August Wilson: “Blues is the bedrock of everything I do. All the characters in my plays, their ideas and their attitudes, the stance that they adopt in the world, are […]
May 13, 2012
The Reconquest of the Long Form
There are, by my count, only two things that can save a long poem in English. Heterogeneity (Eliot and Pound; and those polyphonic, formally quite various sustained dramatic poems of […]
April 20, 2010
The Verray Parfit Praktisour
Sam put it that, in the good-books spectrum, there’s popular writing (Red Dragon, The Time Traveler’s Wife) (“easy”)– shading into Great Literature (Nightwood, Ulysses, Omensetter’s Luck) (“hard”)– shading into the […]