LYN LIFSHIN : LIFE IN A HIMANJU
John Horvath Jr : The First American Critic: E.A. Poe
LYN LIFSHIN : New England Sunday
POETRYREPAIRS v11.09:108
contemporary international poetry - for your reading pleasure,
poetry from new and established poets and essays on writing


All the fine arts are species of poetry--Samuel Taylor Coleridge

Classic Rock





backback
LIFE IN A HIMANJU The First American Critic: E.A. Poe New England Sunday  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games

LYN LIFSHIN
Life in a Himanju
is like living a slow death. It is a miracle none of my family is missing but for the elderly, not just the stress of living with 200 in a gym. In the morning we are awake at 4 am bit wait till the working people get their turn first and at night we try to get to bed as soon as possible so others can do the same. Still, the darkness is overwhelming, the night hours so long. It's hard to
POETRYREPAIRS 11.09:108
link to poetryrepairs
I have many things to write unto you but   I will not write with pen and ink
--JOHN the theologian


EUROPE

poetryrepairs
Image by Cool Text: Free Graphics Generator



PRfindFIND

LIFE IN A HIMANJU The First American Critic: E.A. Poe New England Sunday  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games
John Horvath Jr
The First American Critic: E.A. Poe
The critical commentary on the works of Edgar Allen Poe is exceedingly prolific; but few know Poe as a critic and theorist of literature.

It's safe to say that Edgar Allen Poe favored, no, stressed the imaginative as the prime aspect of a poet's work; second is emotional intensity; thus, his 'City under the Sea' and 'Bells' we might say are examples of imaginative seeing and imaginative hearing. It is not merely what was seen and heard by Poe but those things are translated in the 'perfect words' perfect'sound combinations ('le mot juste', the practice of revising the norm into emotional intensity and the imaginative with the 'right word'). It is said that 'The Raven' underwent extensive revision while Poe sought the perfect name for its figure, Lenore.

Poe said that the long poem does not exist, that an half hour in reading was quite enough. If you want a poetical longer work, with Poe, the reader must turn to the Novels ('arabesques' is a good term for them:They have intertwining subplots and multiple characteres, the dramatized narrator who moves as we move through reading. Yet, Poe argued that 'undue brevity degenerates into 'epigrammatism' - a surprizing act of grammer dealing with an undexpected outcome. Once read they might be set aside. But he gave credit to a few brief poems whose sound and sights intensified the reader's imagination but these too never produce, for Poe, a profound and enduring effect upon the reader.

For poe, acceptable length, the stress on the imaginative; le mot juste,; and emotional intensity were not the res 'poetry' but the means to poetry which, always, is truth. Today we might say that turth is held within the author and readers rather than a thing in itsself. In either casetruth can descerned ny many who read a poem deeply and sufficiently: remember that for Poe an half hour in reading is enough. Applying that standard - being long with the study/reading of a poem is enough - might force some poets to reappraise/revise their works. A poem of 'truth' is one presented 'the rhymthmical creation of beauty' - take into consideration what is beautiful: this is from the man who wrote 'The Telltale Heart' and the 'Cask of Amontinado'. Clearly beauty is avaial to us even in the vile events of life; even in the ugliness we see and hear.

For Edgar Allen Poe the most detestable thing is the didactics whose notion was basically that truth was a club to seduce the savage mind (many didacticists are new to poetry, unaware of effect on ) intellect - taste - moral sense none of whcih is necessary for beauty and truth to exist. As in everday life there are truths without beauty (putting a hand in fire will hurt) and, possibly, anything outside the imaginative and emotionl intensify could not be poetry. But, of course, there were no such sights and sounds.

Other Americans had written or spoken of poetry, but their criticism was simply the impressionism available via Goethe and the Romantics whereas Poe demanded the reader's attention to HOW an effect is borne in a poem. In short, there is structure.
POETRYREPAIRS 11.09 108
Poetry endangers the established order  of the soul - Plato







keep poetryrepairs online
LIFE IN A HIMANJU The First American Critic: E.A. Poe New England Sunday  
POETRY requires a mature audience ENTER only if you are 18+ under 18? GoTo Games

LYN LIFSHIN
New England Sunday
Main street was empty except for clots of cars near the episcopal Church where dark stone grew moss on the north side and boys threw pennies down into the rail road tracks. I pressed against glass, wished I had to put on a skirt with a half slip to sit in the cool stained glass, my hair brushed then braided, never as straight as I wanted it. Later the rooms would be hot, the blood light sinking, turning my lavender walls mauve, orchid, raspberry. We'd come back from Branbury Beach or my grand mother's porch half asleep. I was already too heavy to be carried. Lulled by grownups slap of cards on the screened porch, as spirea and peonies opened and roses grew away from the house, my mother held me on the glider in the braid of her arms, her green and rose sundress a rainbow in a breeze of cardinals and pine, whispered, "Honey," and pretty," a litany I couldn't believe as I dreamed of more, how it wouldn't always be like this
POETRYREPAIRS 11.09 108
Not a state organ: POETRYREPAIRS accepts no monies from federal, state, or local governments. We relie on readers like you.
Please contribute to maintain POETRYREPAIRS online. DONATE
LIFE IN A HIMANJU The First American Critic: E.A. Poe New England Sunday
You Take Advantage of My Good MoodTOPLife in an Himanju  LYN LIFSHIN .A taste of the work sof the most prolific poet of our eveyday lives. POETRYREPAIRS.com will publish its first full-length e-book in February 2012 --Lyn Lifshin's Tsunami as History. Recent books from Lyn Lifshin: THE LICORICE DAUGHTER: MYYEAR WITH RUFFIAN, Texas Review Press, ANOTHER WOMAN WHO LOOKS LIKE ME from Black Sparrow at Godine., following COLD COMFORT and BEFORE IT'S LIGHT, DESIRE and 92 RAPPLE. She has over 120 books & edited 4 anthologies. Also out recently: NUTLEY POND, PERSEPHONE, BARBARO: BEYOND BROKENNESS, LOST IN THE FOG, LIGHT AT THE END, JESUS POEMS and BALLET MADONNAS, KATRINA, LOST HORSES, CHIFFON, and BALLROOM. And just out: ALL THE POETS WHO HAVE TOUCHED ME, LIVING AND DEAD. ALL TRUE: ESPECIALLY THE LIES. Her web site is www.lynlifshin.com
Lyn Lifshin
Vienna Virginia
The First American Critic: E.A. PoeMID  The First American Critic: E.A. Poe  John Horvath Jr, .Reading for this precis includes 'The Poetic Principle', 1848; 'Theory of oetry' in 'Essays and ReviewsLiterary Criticism of Edgar Allen Poe. There exist many equally informative works of Poe - enough that an half hour reading is insufficient.>
New England Sunday]BTM New England Sunday   LYN LIFSHIN .from POETRYREPAIRS 01.09:106
backback
EOFEOF
coverCOVR
PRfindFIND
indexINDX
guidelinesMSS
navigationNAV poets indexpi
submiteditor@[sitename]
trademarkTM