It seems when I encounter a poem I start an argument with it; I approach it as a provocation. Why is it written this way? What is it trying to tell me? What should I feel or think after reading … Continue reading
“I get pretty impatient with people who consider any fourteen-line poem to be a sonnet. The turns of thought are crucial, as is the number of turns.” (Carl Phillips, interviewed by David Baker, http://www.kenyonreview.org) The interview inspiring these illustrations is … Continue reading
They is owning he and she. Example: An athlete knows that they must train rigorously to qualify for the Olympics. It even happens when the antecedent is named and sexed. Example: Jacob has a Master of Fine Arts from Iowa. … Continue reading
The world / was whole because / it shattered. When it shattered, / then we knew what it was. “Formaggio” is Italian for “cheese.” The poem so titled is in Louise Glück’s book Vita Nova. On first reading I experienced … Continue reading
Not the selves we ordered, but the ones received. So it went with those that got us — the trick of not caring for who you be is handed down. Each tiny burden of wiped snot is a pair of … Continue reading
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Once upon a time (Érase una vez…, they say in Spanish), I couldn’t conceive of settling for less than being a published poet. I was too callow and unstable, however, to give the project sustained hard work. I’m content now … Continue reading
Consulting an Arabic dictionary involves looking up a word’s “root,” usually comprising three consonants. Words formed from the root are listed, with their translations, along with idioms in which the word occurs. What the root is may not be apparent … Continue reading
Blachère (364) describes how Arabic expresses the “absolute superlative” — i.e., the uttermost degree of something, with no comparison: Par des noms au cas direct indéterminé de valeur adverbiale dont le sens primitif est paroxysme, degré suprême, rendus en franç. … Continue reading
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I’ve little practice handwriting Arabic. Even less am I schooled in the monastic rigors of calligraphy. I do confess to an effort to “draw” Arabic. My models are the characters as they appear in printed texts. I savor their swoops … Continue reading
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