Passwords primeval : 20 American poets in their own words : by Tony Leuzzi

By Tony Leuzzi

Passwords Primeval units apart the bogus barriers of poetry "schools" and "movements" to chop to the art of the problem. Tony Leuzzi's astonishing wisdom of poetry attracts new insights from such luminaries as Billy Collins, Gerald Stern, Jane Hirshfield, Patricia Smith, and Martín Espada. those new interviews offer insights into the poets and their poems with out compromising any in their secret. even if you are looking for deeper figuring out of your favourite poets or are easily attracted to the lives of latest artists, Passwords Primeval finds the interconnectedness of those masters whose voices echo one another from contrary ends of a similar canyon.

A most sensible booklet for Writers via Poets and Writers Magazine

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Extra info for Passwords primeval : 20 American poets in their own words : interviews

Sample text

Writing in syllabic forms was not inhibitive in terms of my thinking; in fact, I found it liberating. After writing this way for several years, I found myself thinking naturally along syllabic lines. I could hear people in conversation speaking lines of thirteen and seven syllables! Half of my next book, Darling Vulgarity (2006), consists of poems written in this strict syllabic system or some variation of it. A poet working in syllabics faces some significant challenges. One of the challenges is to avoid a prosy sounding line.

I can see this because, in terms of sense, the first stanza does communicate an autonomous truth. Though the second sentence continues into the next stanza, the juxtaposition of the fourth line with the previous three is, on one level, complete and self-contained. You are at once pushing the reader forward beyond the stanza and asking the reader to consider the stanza in itself. In The Pound Era, if memory serves me well, Hugh Kenner was trying to make sense of Williams’s notion of the variable foot and the triadic line.

Now, and forever after, that word will convey scent, will convey eroticism, and so many more things. There’s a deepening of the language. The boy comes to this awareness through first-hand observation, but the reader is also aware that “horse” is an archetypal symbol of eroticism. So there are two paths of knowing here: the boy’s coming to knowledge through observation; and, perhaps, the adult voice’s sophisticated conjuring of an erotic symbol he knows his audience will already understand. There is the autobiographical component and the mythological one.

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