By Camille Paglia
The still-vocal critic of Sexual Personae, a e-book that drew on poetry and portray for its de-deconstructions of gender, assessments in with an anthology of forty three poems, with her personal shut readings of them. Her creation deals a jumble of justifications for project this sort of venture (though she is "unsure even if the West's chaotic personalism can be successful opposed to the totalizing creeds that risk it," she hopes it will), however the readings themselves exhibit Paglia's fascination with poetry, which she likens "to habit or to the euphoria of being in love." The book's first part offers canonical paintings that Paglia has came across "most profitable within the classroom" (Shakespeare, Blake, Dickinson, etc.). the second one good points in general canonical modernist and confessional paintings (Stevens, Williams, Toomer, Roethke and Plath), with a couple of more moderen items. Clocking in as a rule at to 4 pages, Paglia's readings sound much like school room preambles to discussion—offering heritage, lingering over provocative strains, venturing provisional interpretations. a few of what she says comes off as grandiose (Roethke's " 'Cuttings' is a regrounding of contemporary English poetry in misplaced agrarian universals"), a few as boilerplate, a few as encouraged. even though hit-and-miss, Paglia's alternatives and value determinations give you the considered necessary spark for jump-starting returns to poetry.
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from “Talk to God”Ease into your misgivingsAsk him if in his weaknesshe used to be ever responsiblefor a pettiness—some climate, say,brought in to teach who’s bosswhen nobody appeared sufficiently movedby a sundown or the form of an egg. Ask him if whilst he gave us desirehe had underestimated its energy.
This can be the one fundamental selection of Pessoa's Caeiro heteronym in English, and the poems are followed by way of the introductions of Ricardo Reis and a memoir by means of Álvaro de Campos, of Pessoa's different significant poetic heteronyms, in addition to a poem devoted to Caeiro via Coelho Pacheco, believed through many commentators to be one other one-off heteronym.
This publication is a facsimile reprint and will comprise imperfections reminiscent of marks, notations, marginalia and mistaken pages.
Extra resources for Break, Blow, Burn: Camille Paglia Reads Forty-three of the World's Best Poems
Turning poems into pulp, silly to talk or write of cake, still I think of one that calls for a dozen eggs when I should be talking of paper and print, or talking to plush teddy bears strapped to the grills of garbage trucks or growing a Tree of Light. 28 III White bridled horse on hind legs Baby head with blue eyes Torso in overalls Pink rocket with a dirty nose These are what I gathered, but they are not the ingredients for making fire. The half booth barely shelters. Cup and spoon lay inside the hood.
Pile it here. Outdoors is where no one goes without a dog for fear of the woods, of the backwaters, fear of the bridge (it might lead the way out), fear of mirrors, of seeing one’s self in the natural light after years behind curtains. 39 The page is a trailer on wheels and my pen moves with it to back roads where skinned deer are dumped. The remains on the path are very dead and silvery. Bones exposed, six footsteps long and a palm wide. A floppy disk stores my pain. Cathedral ceilings, whirlpool baths, television and game room built into the walls.
Yet this does not prevent me from asking what is inside the trunk on the street? Picture postcards? Soft porn or hard sex toys? Looking at the ground, the tatters of the nest I destroyed, but how else could I know the nature of physical objects, and of my body? I, a physical object, ask what’s inside the body? A collection of swallowed needles, fishhooks, and pennies. 22 For a long time looking in, gazing, trying to know the nature of the physical, like the man who could balance jagged sea rocks one on top another.