By William Logan
William Logan has been a thorn within the aspect of yank poetry for greater than 3 a long time. although he has been known as the “most hated guy in American poetry,” his witty and articulate experiences have reminded us how muscular stable reviewing will be.
These new essays and experiences take poetry at its notice, frequently discovering in its toughest situations the best purposes for wish. Logan starts off with a witty polemic opposed to the desire to have critics announce their aesthetics each time they start a evaluate. “The insufferable Rightness of Criticism” is a plea to learn these critics who obtained it mistaken once they reviewed Lyrical Ballads or Leaves of Grass or The Waste Land. occasionally, he argues, such critics observed precisely what those books were—they observed the poems undeniable, but usually didn't see that they have been poems.
In such wrongheaded feedback, readers can recuperate the floor damaged via such groundbreaking books. Logan seems back on the poetry of Wallace Stevens, Frank O’Hara, and Philip Larkin; on the letters of T. S. Eliot, Elizabeth Bishop, and Robert Lowell; and at new books through Louise Glück and Seamus Heaney.
Always desirous to overturn settled judgments, Logan argues that international warfare II poets have been in any case greater than the much-lauded poets of worldwide battle I.
He revisits the secretly revised version of Robert Frost’s notebooks, displaying that the bad blunders ruining the 1st variation nonetheless exist. the main striking essay is “Elizabeth Bishop at summer season Camp,” which prints for the 1st time her early adolescent verse, in addition to the intimate letters written to the 1st woman she enjoyed.
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Extra info for Guilty Knowledge, Guilty Pleasure: The Dirty Art of Poetry
197 (author's translation). 199 (author's translation). 81 (the original interview was first published in Paese Sera on 20 January 1967, author's translation). For a newer edition of this work, see the Bompiani edition of 1993 which omits the chapters devoted to Joyce. Page 27 juxtaposition of Dante's definition of the Holy Trinity in Paradiso 33 (lines 12426) with a brief passage drawn from the fifth chapter of Finnegans Wake, Eco employs these two texts to set his notion of the "open" versus the "closed" in aesthetics in relief: O Light Eternal fixed in Self alone, known only to Yourself, and knowing Self, You love and glow, knowing and being known!
215361). 6, 7 (this material was not printed in the original Italian edition). xi (this material was not printed in the original Italian edition). Thus, the printed book we now have available in bookstores represents a substantially revised work from that which appeared in 1963 and contains essays that were written as late as 1972. 7. 2 (this material was not printed in the Italian preface). In a recent interview on Eco, Bongiorno maliciously noted that most of the intellectuals who worked behind the scenes at the television station in Milan and elsewhere were envious of the public success of those, such as himself, who were in the limelight.
79. 7980. 8081. Page 29 early book on Scholastic aesthetics has been subsumed under a far more authoritative and original philosophical voice in The Open Work. 104105. 137. Avantgarde authors of "open" works, on the other hand, innovate at the level of artistic form, which is always their ultimate content. When properly analyzed and understood, their works of art, always epistemological metaphors, tell us far more about the true nature of reality than any socalled "realist" literature employing outmoded, traditional, and thoroughly predictable literary conventions linked to the old regime.