Statement of Philosophy

A site for exploration and discussion about verse, poetics, the aesthetic, and creative writing in general.

Because there is a profound difference between writing something to be read and writing something worth reading; and in that difference might beauty be found.



★★ The Latest Posts on Hatter's Adversaria
Something I Read #17 – D.S. SavageDelillo's Underworld – a Review/Response
Visual Labyrinths in Body DoubleSomething I Read #16 – David Perkins


Table of Contents (with the subject headers)

This is a list of the posts (excluding posts concerning blog matters and such). The longer posts and essays are listed separately by title. The shorter posts that engage poems (or other texts) are given in reverse order of posting, listed by the subject header that leads off each post, the poem title, and then author.

Formatting note: not all browsers (e.g., the occasional ipad browswer) support reversed list numbering yet, so the numbers may appear to ascend rather than descend.


 
Long Posts and Essays (alphabetical)
 

  1. § • 30 more things to say from matt haig, so let's talk about grammar
  2. § • but you don't have to call me johnson: taking a run at the words poetry, poem, and poet
  3. § • notes on the idea of organicism — part i: coleridge
  4. § • notes on the idea of organicism — part ii
  5. § • the optimistic literary elitist • a response to "30 things to tell a book snob" by Matt Haig
  6. § • poetry in the u.s.: a response to "Poetry Slam" • "Poetry Slam: Or, The Decline of American Poetry" by Mark Edmundson
  7. § • #poppoetry: the unsurprising culture of poetry in the u.s., part i. introduction: that which should be assumed
  8. § • #poppoetry: the unsurprising culture of poetry in the u.s., part ii. emotionality, authority, and morality
  9. § • #poppoetry: the unsurprising culture of poetry in the u.s., part iii. the poem and the replies: structure and ideation first half
  10. § • #poppoetry: the unsurprising culture of poetry in the u.s., part iii. the poem and the replies: structure and ideation second half
  11. § • #poppoetry: the unsurprising culture of poetry in the u.s., part iv. summation, conclusion, and the inevitable j'accuse

 
Repeating and Thematic Posts
 

poetry that writers of poetry have no excuse not reading

 

aphorisms on the creative endeavor


 
Poetry Exploration Posts (in reverse order of posting)
 

  1. § • an exploration post
    "Taxing the Rain" • Penelope Shuttle
  2. § • some of Eliot's own line periods
    "The Hollow Men" • T.S. Eliot
  3. § • the line period
    Tamburlaine the Great, Part I • Christopher Marlowe
  4. § • the erotic and the merely sexual
    "the mind is its own beautiful prisoner" • E.E. Cummings
  5. § • another example of the difference between the poetic and prosaic modalities
    "Disillusionment of Ten O'Clock" • Wallace Stevens; "Aunt Jennifer's Tigers" • Adrienne Rich
  6. § • demonstrating the difference between the prosaic and poetic modes
    "Patterns" • Amy Lowell; "Garden" • H.D.
  7. § • playing with composition and a note on ornament
    Drinking to do
  8. § • similes, and metaphoricity
    "Year of the Cat" • Al Stewart
  9. § • a note on confidence
    Wivenhoe Park • John Constable
  10. § • review: poetry magazine (oct. 2015) – part ix – crash davis vs. the zombies
    The Grand Finale
  11. § • review: poetry magazine (oct. 2015) – part viii – more on moments, less on wholes
    "Frequently Asked Questions: 10" • Camille T. Dungy; "Evanescent Hesse," "Thor and Saturn's Tête-à-tête," "The Mad Man from Macon" • Maceo J. Whitaker; "Vert" • Catherine Staples; "Salad Days" • Thomás Q. Morín; "Donut" • Julian Stannard; "Green Permanent" • Jessica Greenbaum; "A Horse Named Never" • Jennifer Chang; "Arrhythmia" • Hailey Leithauser; "What Is a Grackle?," "Advice from the Grackle" • Susan Elizabeth Howe
  12. § • review: poetry magazine (oct. 2015) – part vii – facts, fragments, and realism
    "Listening to Townes Van Zandt" • Christine Gosnay; Claudia Emerson; "Arcadia" • James Longenbach
  13. § • review: poetry magazine (oct. 2015) – part vi – fragments and amalgams, similes and metaphors, and a bit on confidence
    "Florida," "Almost" • Matt Hart; from "Dark Honey" • Reginald Gibbons
  14. § • review: poetry magazine (oct. 2015) – part v – list verse; more on pop-formatting; and defenses of texts
    "The Friend" • Matt Hart
  15. § • review: poetry magazine (oct. 2015) – part iv – the shape of verse and pop-poetic convention
    "Background Information" • Rae Armantrout; "Object Lesson" • Rae Armantrout; "Midnight Office" • Cynthia Cruz
  16. § • review: poetry magazine (oct. 2015) – part iii – pop-poetic convention and clothesline verse
    "Let the Light Stand" • Corey Mesler; "Autobiographical Fragment," "A Citizen" • Katie Peterson; "Asymmetries" • Rae Armantrout
  17. § • review: poetry magazine (oct. 2015) – part ii – breaking lines vs. writing lines
    "Nailing Wings to the Dead" • Eleanor Hooker; "The Raising of Lazarus" • Franz Wright
  18. § • review: poetry magazine (oct. 2015) – part i
    "Five Yellow Roses," "Dialogue with an Artist" • Matthew Sweeney;
  19. § • the intellect and the internet
    an FB comment •
  20. § • the question of merit
    "Song" • Laetitia Landon
  21. § • demonstration of poetic form
    "Cold Tea Blues" • Cowboy Junkies
  22. § • the action of the prosaic and the poetic
    "My Brother's Insomnia" • Tony Eric Pankey
  23. § • returning to the definition of poetry
    "Bible Study" • Tony Hoagland
  24. § • an object lesson in brilliance
    "Let It Go" from Frozen
  25. § • an exercise in deep reading
    Sam Coleridge Goes to the Superbowl
  26. § • line construction, and sham or genuine poetics
    "Journey of the Magi" • T.S. Eliot
  27. § • a question of confidence; an issue of strength
    My Life • Lyn Hejinian
  28. § • it takes two to tango
    "Metzengerstein" • Edgar Allen Poe
  29. § • an exploration of poetic structure
    "Pelicans in December" • J. Allyn Rosser
  30. § • poetic structure: aesthetic ideation vs. brute factuality
    "Mariana" • Alfred, Lord Tennyson
  31. § • exploring the poetic-prosaic axis through example
    A Burial at Thebes and "Hercules and Antaeus" • Seamus Heaney
  32. § • correcting some problems in an earlier post — a theoretic exploration
    Poetic Diction • Owen Barfield
  33. § • reading selectively and reading collectively — another demonstration that reading well means close reading
    "My God, It's Full of Stars" and Life on Mars • Tracy K. Smith
  34. § • an exploration post
    "A Way" • Rosanna Warren
  35. § • verse or prose, poetic or prosaic
    "Hymn to Life" • Timothy Donnelly
  36. § • a shared bibliography
    Poetic Diction • Owen Barfield
  37. § • structure and organic unity
    Sonnet 128 • William Shakespeare
  38. § • why the basics are so important (at least, to me)
    "Rain of Statues" • Sarah Lindsey
  39. § • ekphrastic poetry and ideational strength
    "Modigliani's Cellist" • Barbara Siegel Carlson
  40. § • an exploration of measure and musical phrasing
  41. § • the aural effects of poetic grammar
    The Ticket That Exploded (excerpt) • William S. Burroughs
  42. § • the importance of knowledge to creating
    The Waste Land (first stanza) • T.S. Eliot
  43. § • shifts in subject (with a footnote on rhythm)
    "One Little Good Thing About It" • Patricia Smith
  44. § • exploring structure
    "Congenital" • Amy McCann
  45. § • Bocola on Modernism and the "primitive," and Cassirer on theoretical and mythical thinking
    "Ars Poetica" • Archibald MacLeish
  46. § • exploring a poem (organic form and pop conventionality)
    "Sleeping Women in Movies" • Janet McCann
  47. § • reading typography
    "Gymnopédia No.3" • Adrian Matejka
  48. § • when you no longer care about literature, it's hard to show you care about literature
    "Academe Quits Me" (a blog post) • D.G. Myers
  49. § • appreciation; alternatively, forcing the poem for an easy audience
    "Slight Pause" • Joy Katz
  50. § • the very important importance of lines
    "Confession" • Carrie Shipers • "When Fruit and Flowers Hung Thick Falling" • Katie Peterson
  51. § • god lies in the details
    "Epic" • Ange Mlinko
  52. § • more is not better; ergo, the few are not the best
    "Epic" • Ange Mlinko
  53. § • Two Thoughts (and a Note) on the Poetic After Having Barely Started to Read Charles O. Hartman's Free Verse: An Essay on Prosody
  54. § • the very important importance of lines
    "Rocket" • Todd Boss
  55. § • the structure of the content
    "Lost Cilization" • Henry Hart
  56. § • creative writing versus reportage and description (and the "mayonnaise jar" trope)
    "Lo Mein" • August Kleinzahler
  57. § • wording and context, and poetic gameplay
    "Bad Sheep" • Hailey Leithauser
  58. § • asking the question: "why should I read this?"
    "A Fold in Time" • Ann Lauterbach
  59. § • explorations in punctuation and ideation
    "The Mind After Everything Has Happened" • Rowan Ricardo Phillips
  60. § • asking why? and not just what?
    "How to Make Love in the Garden of Good and Evil" • Lo Kwa Mei-en
  61. § • six months in: a need to step back, and robinson jeffers • time for a pause
  62. § • the phantasy of the aesthetic
    "Yellow Goblins" • Fanny Howe
  63. § • awwww, out of the mouth of poetastry, the relationship of mimetic representation and convention
    "Mimesis" • Fady Joudah
  64. § • a bar for poetic ability?
    "Nimium Minus Solus Quam Solus" • Daryl Hine
  65. § • the play between the poetic line and its internal structure
    "Weight Gain" • Moira Egan
  66. § • grammar snobbery again (and the weirdest pocoyo ever)
    Stephen Fry
  67. § • a note on the grammar inherent to a poem • "Our Lady of Ash Wednesday" • Joe Hall
  68. § • the good of sound and form; the bad of ideation
    "We Come Elemental" • Tamiko Beyer
  69. § • exploring poetry while playing around with the poems
    Two Poems • Tom Hennen
  70. § • meticulous wording: another exercise in close reading
    "Space Junk" • Lisa Olstein
  71. § • text and form: an exploration of organic vs. conventional nature
    "Never the Twain" • Partridge Boswell
  72. § • exploring "write what you know," the info dump, and other bits
    "For the Next Task, I Turn From My Bench" • Matthew Nienow
  73. § • another convention of pop poetry -- little pretties -- and ideational depth
    "Bloodletting" • Alex Dimitrov
  74. § • more on contemporary, poetic conventionality (but first, the ampersand)
    "Demonstrated Melancholy" • Nate Pritts
  75. § • the genre of contemporary poetry and anaphora
    "All You Know" • Carol Ann Davis
  76. § • the small poem (and a bit about the unexpectedly hackneyed)
    "Ecstasy" • Jane Miller
  77. § • abstraction and control
    "The Other One" • Nadine Botha
  78. § • accidental meter and rhyme
    "Because There Is No Ending" • Pimone Triplett
  79. § • exploring content and structure, and poetic laziness (with, first, a grammar/syntax point)
    "Going Back to Bimble" • Maurice Manning
  80. § • a bit about the process
    "Dusk in the Ruins" • Ernest Hilbert
  81. § • writing habits and not writing about yourself
    "Canticle of Clouds" • Jennifer Atkinson
  82. § • ideation, depth, and bombs
    "Spook House" • Benjamin Myers
  83. § • clothesline poetry and unity (with a bit about Surrealism)
    "Risk Management Memo: Small Enterprise" • Mary Biddinger
  84. § • abstraction and pretty emptiness
    "Dominion Over the Larger Animal" • Sophie Cabot Black
  85. § • an open(ed) letter to the so-called editors of Verse Daily
    "Word All Over, Beautiful as Sky" • David Axelrod
  86. § • sufficiency of content, and the organic whole
    "Brief Study of Parades" • Jill Osier
  87. § • playing with wording and ideation
    "Here Be Monsters" • Katherine Coles
  88. § • prose hiding behind line breaks
    "Phlogiston Footage" • Nicky Beer
  89. § • meter and meaning
    Two Poems • Glyn Maxwell
  90. § • the prose poem, and the distinction between poetry and prose
    "Ms. and Super Pac Man" • M.J. Best
  91. § • some general, exploratory questions
    "Sister as Moving Object" • Jan Beatty
  92. § • the stanza break, and difference and repetition
    "To a Young Father" • Sidney Lea
  93. § • narrative verse
    "Northwest Passage" • James Pollock
  94. § • a grammar note
    "Insomniac Romance" • Lynn Levin
  95. § • wording, metaphor, and the narrative "I"
    "Elk Skeleton" • Amy Fleury
  96. § • the poetic line
    "Ode to the Artichoke" • translated by William Pitt Root
  97. § • the masculine and feminine line
    "[but the rain is rull of ghosts tonight]" • Dawn Lonsinger
  98. § • when a text lies
    "Solitude" • John Daniel
  99. § • verse daily sloppiness
    "Dear So & So" • Beth Marzoni
  100. § • poetic unity, and internal contradiction
    "Learning to Live With Stone" • Kelly Cherry
  101. § • how grammar works within the poem's system
    "The Bladder" • David Keplinger
  102. § • poetic structure
    "Wander" • Andrea Hollander
  103. § • poetic structure
    "What Befalls You" • Ethel Rackin
  104. § • poetry as exploration of language
    Three Poems • Anne Carson
  105. § • line breaks
    "Butterfly with Parachute" • Stephen Burt
  106. § • the chorus
    Three Poems • Ron Smith
  107. § • the first line of the poem
    "When Men Go Off to War" • Victoria Kelly
  108. § • on multiple readings
    "A Road in the Sky" • Elizabeth Lindsey Rogers
  109. § • a moment on prosody
    "Housebound" • Jacqueline Pope
  110. § • superfluous words and poetic lines
    "Elegy" • Jaswinder Bolina
  111. § • unity, and energy
    "Augenblick" • Mark Irwin
  112. § • line breaks
    Two Poems and "Ealuscerwen" • Charles Simic and Edward Mayes
  113. § • the narrative "I"
    "Tablet" • Chris Dombrowski
  114. § • ekphrasis
    "In Vitebsk There Lives a Cow" • Nuala Ní Chonchúir
  115. § • prose poems and paragraph poems
    "Times Like These: Marianna, Florida" • L. Lamar Wilson
  116. § • close reading and aesthetic sophistication
    "The Little Georgia Magnet" • R.T. Smith
  117. § • meter and the poetic line
    "Glass of Water and Coffee Pot" • Robin Robertson
  118. § • poetic structure, and poetic grammar
    "Necessity Defense of Institutional Memory" • Camille Rankine
  119. § • narrative poetry, and poetry as "calculation"
    "The Letters" • Jack Ridl
  120. § • poetry and the dream; technique and the poetic whole
    Three Poems • Sarah Arvio
  121. § • lists
    "A Moment" • Philip Schultz
  122. § • center formatting
    "The Caravaggio Room" • Ron Smith
  123. § • lines and line breaks
    "The Ruin" • Jacob Polley
  124. § • line breaks and poetic structure
    A Cup of Water Turns Into a Rose (excerpt) Lawrence Raab
  125. § • free verse and the poetic ear (and grammar)
    "Ars Poetica" • Natania Rosenfeld
  126. § • ideation (and a note on the punchline poem)
    "The Joy That Tends Toward Unbecoming" • Joseph Fasano
  127. § • is there a bar in poetry publishing?
    "Conversion Figure" • Mary Szibist
  128. § • grammar and syntax too
    "Bethany Man" • Ricardo Pau-Llosa
  129. § • "perfection in miniature"
    "Women Looking Up Into a Plum Tree" • Melanie McCabe
  130. § • line breaks
    "Eviction Notice" • Dan Gerber
  131. § • the poetic ear (and line breaks)
    "nostalgia&tm;" • Robert Hershon
  132. § • close reading
    "Geckos in Obscure Light" • William Logan
  133. § • the emotion bomb
    "The Horses Are Fighting" • Jill Osier
  134. § • examining examining a poem
    "The Evil Key" • Sinéad Morrisey
  135. § • suddenly, no depth
    "Five White Birds" • Catharine Savage Brosman
  136. § • fortissimo! then not
    "Salt Water Ducks" • Cleopatra Mathis
  137. § • crafting little things
    "Rapprochement" • Geoffrey Nutter
  138. § • little things do count
    "Q" • Michael McFee

No comments:

Post a Comment