Titles for You by Camus

Gestures Commanded by Existence
The Insane Character
That Daily Agitation
Divested of Illusions and Lights
The Body's Judgement
The End is the Absurd Universe
Revolt of the Flesh
Primitive Hostility
Secrete the Inhuman
Incalculable Tumble Before the Image
The Cruel Mathmatics
Appetite for the Absolute
An Infinite Number of Shimmering Fragments
So Many Centuries of Inquiries
Sterile Exercise on Great Subjects
Certain Evenings When the Heart Relaxes
Poisoned Peace Produced by Thoughtlessness
Which is to Burn the Heart They Simultaneously Exalt
Impulses Born of the Desert*
Fatal Game of Appearances
That Face Both Tender and Sneering
His Beloved Scandals
A Priviledged and Bitter Moment
Admitted the Absurd Climate
Without Exception, Suggest Escape
Universe Upset By Failure
The Commandments of the Absurd
A Conjurer's Emotional Trick*
The Vocation of Rapture
Feed on the Roses of Illusion
Metaphysic of Consolation*
An Intellectualism Sufficiently Unbridled

More to come!

Comments

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...

"Self-Portrait as Medusa in Shock" Jayme Ringleb

"Self-Portrait as Medusa in Shock, " Jayme Ringleb, Puerto Del Sol Online, is such a lovely and challenging ekphrasis. I won't quote any of it, because there is this seductive kind of movement in the poem, like very classy striptease, a dance of veils, or the pulsing of a jellyfish, that when relaxed, its nearly transparent arms floating away from the body, allows you to see more clearly through what when held tightly concealed those mysterious internal structures. The layers of ekphrasis in this poem are constructed like a nesting doll, each stanza with a lovely similarity, a theme, but each leading more intimately to the interior. The poem begins in the natural world of the jellyfish, which is written over by classical myth that shares the creature's name, which in turn is compared to Biblical stories of resurrection, before the poem finally turns toward memoir. There the poem compares this idea of the classical Medusa, being confronted by her own fatal image t...

I'm officially over 12x12

Deciding which poetry books to take with me to Charleston for 6 months while I pack up the rest for storage. I think I'm going to skip at least a few 12x12 months, and those books I'd planned to read and give away are stored to donate another day. On the bright side I think I've got enough to read, and maybe I'll even write :) Trying to find one last book, a chapbook by my friend Charlie about distance between lovers, the physical kind, to read when I'm lonely.

Medusa's Head

Search This Blog