ANOTHER SCARY SCARRIET POETRY HOT 100!

1. Natasha Trethewey   Beautiful! Black! Poet Laureate!
2. Billy Collins  Still sells…
3. David Lehman  Best American Poetry Series chugs along…
4. Stephen Burt  Harvard Cross-dresser takes Vendler’s mantle?
5. William Logan  Most entertaining poetry critic
6. Christian Wiman  He’s the “Poetry” man, he makes me feel alright…
7. Sharon Olds  Sock-in-the-gut, sexy frankness…
8. Tracy K. Smith Young Pulitzer winner
9. David Orr  The New York Times Poetry Critic…
10. Harold Bloom  Not sure on Naomi Wolfe; we know he abused Poe….
11. Matthew Dickman  OMG!  Is he really no. 11?
12. Anne Carson  Professor of Classics born in Toronto…
13. Dana Gioia  Famous essay still resonates & not a bad formalist poet…
14. Jorie Graham Judge not…
15. Rita Dove The Penguin Anthology really wasn’t that good…
16. Helen Vendler Almost 80!
17. John Ashbery Has he ever written a poem for no. 16?  Where’s the love?
18. David Ferry This translator is almost 90!
19. Kevin Young We hear he’s a leading poet of his generation…
20. Robert Pinsky The smartest man in the universe…
21. Cole Swenson  The Hybrid Queen, newly installed at Brown…
22. Marjorie Perloff  “Poetry on the Brink” praises cut-and-paste…
23. John Barr Financial leader of Poetry Foundation and poet worth reading?
24. Seamus Heaney  The inscrutable Irish mountain…
25. Geoffrey Hill  A mountain who is really a hill?
26. Robert Hass  West-coast cheerleader.
27. Stephen Dunn  Athlete, philosopher, poet
28. Laura Kassichke  Championed by Burt.
29. Mary Oliver  The John Clare of today…
30. Kay Ryan  Come on, she’s actually good…
31. Don Share  Riding “Poetry” gravy train…
32. W.S. Merwin  Noble, ecological, bull?
33. Dana Levin Do you know the way to Santa Fe?
34. Susan Wheeler Elliptical Poet.  At Princeton.
35. Tony Hoagland Has the racial controversy faded?
36. Mark Doty Sharon Olds’ little brother…
37. Frank Bidart The Poet as Greek Tragedian
38. Simon Armitage Tilda Swinton narrates his global warming doc
39. D.A. Powell He likes the weather in San Francisco…
40. Philip Levine Second generation Program Era poet
41. Ron Silliman Experimental to the bone, his blog is video central…
42. Mark Strand Plain-talking surrealist, studied painting with Josef Albers…
43. Dan Chiasson Influential poetry reviewer…
44. Al Filreis  On-line professor teaches modern poetry to thousands at once!
45. Paul Muldoon If you want your poem in the New Yorker, this is the guy…
46. Charles Bernstein Difficult, Inc.
47. Rae Armantrout  If John Cage wrote haiku?
48. Louise Gluck Bollingen Prize winner…
49. Ben Mazer 2012 Scarriet March Madness Champ, studied with Heaney, Ricks…
50. Carol Muske-Dukes California Laureate
51. Peter Riley His critical essay crushes the hybrid movement…
52. Lyn Hejinian California Language Poet…
53. Peter Gizzi 12 issues of O.blek made his name…
54. Franz Wright Cantankerous but blessed…
55. Nikky Finney 2011 National Book Award winner 
56. Garrison Keillor Good poems!
57. Camille Paglia  She’s baaaack!
58. Christian Bok Author of Canada’s best-selling poetry book
59. X.J. Kennedy Classy defender of rhyme…
60. Frederick Seidel Wears nice suits…
61. Henri Cole Poems “cannily wrought” –New Yorker
62. Thom Donovan Poetry is Jorie-Graham-like…
63. Marie Howe State Poet of New York

64. Michael Dickman The other twin…
65. Alice Oswald Withdrew from T.S. Eliot prize shortlist…
66. Sherman Alexie Poet/novelist/filmmaker…
67. J.D. McClatchy Anthologist and editor of Yale Review…
68. David Wagoner Edited Poetry Northwest until it went under…
69. Richard Wilbur A versifier’s dream…
70. Stephen Cramer His fifth book is called “Clangings.”
71. Galway Kinnell We scolded him on his poem in the New Yorker critical of Shelley…
72. Jim Behrle Gadfly of the BAP
73. Haruki Murakami The Weird Movement…
74. Tim Seibles Finalist for National Book Award in Poetry
75. Brenda Shaughnessy  Editor at Tin House…
76. Maurice Manning  The new Robert Penn Warren?
77. Eileen Myles We met her on the now-dead Comments feature of Blog Harriet
78. Heather McHugh Studied with Robert Lowell; translator.
79. Juliana Spahr Poetry and sit-ins
80. Alicia Ostriker Poetry makes feminist things happen…
81. William Childress His ‘Is Free Verse Killing Poetry?’ caused a stir…
82. Patricia Smith Legendary Slam Poet…
83. James Tate The Heart-felt Zany Iowa School…
84. Barrett Watten Language Poet Theorist.
85. Elizabeth Alexander Obama’s inaugural poet.
86. Alan Cordle Foetry changed poetry forever.
87. Dean Young Heart transplanted, we wish him the best…
88. Amy Beeder “You’ll never feel full”
89. Valzhyna Mort Franz Wright translated her from the Belarusian…
90. Mary Jo Salter Studied with Elizabeth Bishop at Harvard…
91. Seth Abramson Lawyer/poet who researches MFA programs and writes cheery reviews…
92. Amy Catanzano “My aim is to become incomprehensible to the machines.”
93. Cate Marvin  VIDA co-founder and co-director
94. Jay Wright First African-American to win the Bollingen Prize (2005)
95. Albert Jack His “Dreadful Demise Of Edgar Allan Poe” builds on Scarriet’s research: Poe’s cousin may be guilty…
96. Mary Ruefle “I remember, I remember”
97. John Gallaher Selfless poet/songwriter/teacher/blogger
98. Philip Nikolayev From Fulcrum to Battersea…
99. Marcus Bales Democratic Activist and Verse Poet
100. Joe Green And Hilarity Ensued…

KAY RYAN AND COLE SWENSEN DANCE IN THE WEST

Swensen: just switched digs from Iowa to Brown; also resides in Paris

Cole Swensen is not in Dove’s anthology.  Too much crazy white girl poetry out there.   Here’s Swensen’s poem, reprinted on The Academy of American Poets’ website, called “Ghost:”

erodes the line between being and place becomes the place of being time and so the house turns in the snow is why a ghost always has the architecture of a storm The architect tore down room after room until the sound stopped. A ghost is one among the ages at the edge of a cliff empty sails on the bay even when a ship or the house moves off in fog asks you out loud to let the stranger in

It is always nice when an artist can be impressionist and expressionist at the same time.  Why not?  The Impressionist painter takes care that we understand what the object is, even in its impressionistic rendering—and this care eventually lost authority, as the fashion of expressionism/abstraction set in. 

The poets, however, unlike the painters, do not have a clear ‘art history’ time-line to go by, simply because poetry is not bound by painting’s more material rules. 

Poets need to decide for themselves, with each poem, whether they are going to be an Impressionist painter in 1872 or an Expressionist painter in 1915, or what have you.

Poets of a radical nature make their own art history with each poem, and not only the radical poets: writing a sonnet, or writing a poem about love, for instance, these sorts of things which do have a clear tradition in poetry, even then, the coloring of impressionist or expressionistic effects in any particular poem never need obey strict ‘art history’ rules.

The trouble with Swensen’s poem is that it isn’t clear when the poem is being impressonistic and when it is being expressionistic—the poem needs to make the reader aware of this in the poem; the poem can’t take it for granted, or hope that in vagueness the effect will somehow work.  We don’t know, for instance, whether the “stranger” at the end of Swenson’s poem is being used as an expressionist device, or an impressionist one, and we wonder, too, about every feature of the poem, the “snow,” the “architecture,” the “house,” the “being,” the “place,” none of these elements exist for us visibly or emotionally, since the poet has ignored every possible choice pertaining to line, shape, tone, color, and mode.  Swensen has been happy to be impressionist and expressionist at once—without understanding what she is doing.

Kay Ryan, according to Dove’s anthology, “has been a part-time teacher of remedial reading and English” at a small college since the 1970s.  She’s also won some major awards and was US poet laureate from 2008 to 2010.  Dove reprinted two of Ryan’s short poems about animals in her anthology.  “Turtle” goes to the dance:

Who would be a turtle who could help it?
A barely mobile hard roll, a four-oared helmt,
she can ill afford the chances she must take
in rowing towards the grasses that she eats.
Her track is graceless, like dragging
a packing-case places, and almost any slope
defeats her modest hopes. Even being practical,
she’s often stuck up to the axle on her way
to something edible. With everything optimal,
she skirts the ditch which would convert
her shell into a serving dish. She lives
below luck-level, never imagining some lottery
will change her load of pottery into wings.
Her only levity is patience,
the sport of truly chastened things.

Ryan brings to the reader both an object and memorable language that adorns that object—by this alone, Ryan is worlds ahead of Swensen.  Every poet should have a musical ear—this alone gives the poet a powerful tool in which to navigate and eventually solve the impressonist/expressonist problem above.   Ryan adeptly signals to us when she is being expressionist (line 1) and when she is being impressionist (line 2)—and when she is being both (the last 3 lines of the poem).

Slow and steady wins the race.

Ryan 90, Swensen 59

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