Skip to main content

A Year of Poetry: January, Starting With Mary Oliver

It comes as no coincidence to me, at this time of New Year's Resolutions, that I would find something to reinspire my poetry give-away project.

Thanks to Dana Guthrie Martin at My Gorgeous Somewhere I'm going to read at least one of my collections a month this year and challenge myself to give them away when done.

The first month's challenge? To read a book published the year you were born. I thought this would be a major challenge, but after a few pages of searching on Amazon, I discovered the last book I bought, Mary Oliver's American Primitive, was published the year I was born! Other years too, but this counts for me.

Maybe as I read these books, I'll be able to figure out how to fix my one-trick poem ending, which is making my book manuscript sad.


Popular posts from this blog

Women and Myth: Margaret Atwood and Circe

Circe, by Wright Baker "One day you simply appeared in your stupid boat," "Circe/ Mud Poems," Margaret Atwood, from You Are Happy I was alerted to this poem series by Estella Lauter's great chapter, "Margaret Atwood: Remythologizing Circe" from Women as Mythmakers. If you have the Norton Anthology of Modern and Contemporary Poetry, there is an excerpt in Vol. 2. And here is some interesting discussion of the text as well.

Feminist Ekphrasis: Margaret Atwood and Manet's Olympia

Margaret Atwood confronts the male gaze directly in her poem, "Manet's Olympia."

Armantrout's Feminist Poetics and the Meaning of Clarity

Because it doesn't seem to exist in digital form AT ALL, here's my annotation for this totally foundation feminist poetics essay. Rae Armantrout’s foundational essay “Feminist Poetics and the Meaning of Clarity,” offers a way of understanding the social in experimental poetry that is critical of a particular type of lyric subjectivity, described as univocal, closed, Romantic, imperial, and appropriative. For Armantrout, the stable poetic subject is inherently appropriative, serving epiphany demanded by mainstream form, constructed by metaphor’s appropriative nature. Armantrout specifically calls out the type of poems that most agree constitute conventional poetry of witness: “The conventional or mainstream poem today is univocal, more or less plainspoken, short narrative, often culminating in a sort of epiphany” (Armantrout 288). Elaborating, Armantrout argues that “such a form must convey an impression of closure, and wholeness, no matter what it says” (288). Closure an…