THE ONE AND ONLY SCARRIET POETRY HOT ONE HUNDRED

Detail of Panel 3 of 40. "Dante and Virgil at the Entrance to Hell" oil on  AlumaComp 48 x 60" 2017. : r/painting

Scarriet’s Hot 100 has been going on for over 10 years. It’s now a fixture on the poetry scene.

Those toiling in the poetry trenches struggling to be read don’t look up.

Those who do make this list (most aren’t read much, either) are afraid to look down. (Ask Don Share or Michael Dickman)

Therefore no one else really bothers to do what Scarriet does here, taking a long vertical look to judge harshly and succinctly poets in the moment.

I don’t know if the Hot 100 is fruitful—or merely feeds resentment and idle curiosity.

I don’t like to summarize poets’ subjective lives (who cares, really?)—their travels, their membership in hipster guilds, their predictable neo-liberal politics, their fragile creds, their backroom alliances—frankly it bores me to tears.

I do this as an obligation. I just feel—damn— someone ought to do it.

I guess a secondary reason might be that I seek poetic or critical genius, or signs of it, at least. We need the haystack to find the needle.

A final point is that Scarriet putting poets on the list makes them hot. My own subjectivity is involved in the process.

Let’s look back at the previous names, reputable or controversial, who made the list as number one. See if you know them all:

Amanda Gorman 2021
Laura Foley 2019
Jennifer Barber 2019
Anders Carlson-Wee 2018
Garrison Keillor 2018
Sushmita Gupta 2017
Bob Dylan 2017
Matthew Zapruder 2016
Ben Mazer 2016
Vanessa Place 2015
Yi-Fen Chou 2015
Kenneth Goldsmith 2015
Claudia Rankine 2014
Valerie Macon 2014
John Ashbery 2014
Mark Edmundson 2013
Natasha Tretheway 2012
Rita Dove 2011
Billy Collins 2010
John Barr 2010
Harold Bloom 2010


And now, the current list!

1. Kent Johnson —this well-known avant hoaxster asked for reviews to be anonymous 10 years ago. The best minds in poetry said, “great idea!” It hasn’t happened.

2. William Logan —in an era of “too many poems” (Marjorie Perloff) there’s always criticism and reviews—Logan’s the great guilty pleasure, still the most mentioned.

3. Ben Mazer —Randall Jarrell’s living example: the Romantic Modern. Auden (who read Byron) was loud. Mazer has a quieter beauty. Also an editor, Mazer is bringing out The Collected Poems (with never published material) of Delmore Schwartz. Ben Mazer and the New Romanticism (2021) is a critical study of Mazer’s work from Spuyten Duyvil press.

4. Barbara Epler —Editor, New Directions. ND launched Delmore Schwartz when Delmore and founder James Laughlin were companions in their twenties.

5. Don Share —the last poetry editor of the now defunct Partisan Review, a position Delmore Schwartz once held. Share was recently forced out of his position at Poetry.

6. Su Cho —took over Poetry magazine editorship duties after Share was forced to quit. In general, the too-much-white-space poetry of Poetry still sucks.

7. Michael Wiegers —Editor in Chief, Copper Canyon Press.

8. Kevin Young —New Yorker poetry editor. Studied with Seamus Heaney at Harvard along with Ben Mazer.

9. Jonathan Galassi —FSG poetry editor who will publish Mazer’s Delmore Schwartz, much of it seen for the first time.

10. Marilyn Chin —Jury Chair for the 2021 Pulitzer. I knew her when she was a shy poet/translator at Iowa when we both worked for Paul and Hualing Engle’s International Writing Program.

11. Donald Futers —Penguin poetry editor.

12. Fiona McCrae —director and publisher, Graywolf

13. Eric Lorberer —Rain Taxi editor

14. Cal Bedient —with David Lau, edits Lana Turner

15. Robert Baird —reviewed William Logan’s Dickinson’s Nerves, Frost’s Woods in the NY Times, claiming Logan was attempting to play nice (to balance out his literary reputation) with a book of over-fastidious literary research.

16. John Beer —his parody poem, “The Waste Land” is a real achievement.

17. Michael Robbins —influenced by James Schuyler. In an interview, he strongly objected to “deforestation.”

18. Bill Freind —edited book of essays on the poetry of Araki Yasusada—a poet thought by many to be Kent Johnson’s creation.

19. Matthew Zapruder —Wave Books editor

20. Jill Bialosky —Norton poetry editor. Accused of plagiarism by William Logan.

21. Natalie Diaz —2021 Pulitzer prize winner.

22. Ange Mlinko —was the Nation poetry editor

23. Jericho Brown —Won the Pulitzer in 2020.

24. Frank Bidart —recently recognized with major awards. You can read his “Ellen West” online.

25. Laura Newbern —Arts and Letters editor.

26. Ira Sadoff —poet and critic, who once said he is “trying to resist the return to formalism.”

27. David Orr —poet and poetry critic for the NY Times, he once defended Alan Cordle of Foetry.

28. Johannes Goransson —his 2020 book of criticism is Poetry Against All.

29. Joe Amato —he has published a novel on poetics.

30. Jos Charles —she is the founding-editor of THEM.

31. Arthur Sze —won the 2021 Shelley Memorial Award and the 2019 National Book Award.

32. Desiree Bailey —short-listed for 2021 National Book Award.

33. Daniel Slager —publisher of Milkweed editions.

34. Barry Schwabsky —poet and art critic of the Nation.

35. Michael Theune —Structure and Suprise is the name of his textbook on poetry.

36. A.E. Stallings —this New Formalist almost won the Pulitzer in 2018.

37. Adam Kirsch —Jury Chair for the Pulitzer in 2020.

38. Al Filreis —MOOCS and PennSound

39. Dorianne Laux—best known for “The Pipe Fitter’s Wife,” recent runner-up for a major prize.

40. Joy Harjo —current U.S. poet laureate—in her third term.

41. Natasha Trethewey —pulitzer prize winner and latest jury member for that prize.

42. Dale Smith —his Poets Beyond the Barricade: Rhetoric, Citizenship, and Dissent After 1960 came out in 2012 from U Alabama Press.

43. Glyn Maxwell —probably the best living British poet.

44. Robert Archambeau —protested the poet laureatship of Billy Collins.

45. Victoria Chang —shook things up when she said “fuck the white avant-garde.”

46. Mei-mei Berssenbrugge —finalist for the 2020 Pulitzer.

47. Blake Campbell —young, gifted formalist poet who currently lives in Salem, MA.

48. Maureen McLane —in 2019 her Selected Poems published by Penguin.

49. Martin Espada —on the short-list for this year’s National Book Award.

50. Annie Finch —featured in the Penguin Book of the Sonnet. I met her on the old Blog Harriet Comments. I was a feisty comment writer, then, having sharpened my teeth as “Monday Love” on Foetry.com with visitors like Robert Creeley. Later, “Thomas Brady” would tangle with Franz Wright on Scarriet.

51. Charles Bernstein —stung by Scarriet. In a 1984 Alabama conference (Annie Finch pointed me to the transcript, with an unforgettable performance by panelist Denise Levertov) Gerald Stern demanded Bernstein name the “policemen-poets” of “Official Verse Culture.” Harold Bloom attacked Poe in a monster hit piece in the October 11 NY Review at the same moment. Defining point in history for poetry. “Alabama” will bring it up in a Scarriet site search.

52. Forrest Gander —Pulitzer prize winner, friends with Kent Johnson.

53. Marjorie Perloff —avant titan. One of the greatest conversations I ever witnessed was her and Philip Nikolayev debating the worth of Concrete Poetry in the Hong Kong restaurant in Harvard Square. Philip won (but it was his turf).

54. Mark Wallace —was a student assistant for Bernstein at Buffalo.

55. Robin Coste Lewis —is it really that long ago she won the National Book Award? (2015).

56. Philip Nikolayev —met Mazer at Harvard. Fulcrum editor has just published book of Pushkin translations.

57. Rupi Kaur —someone needs to publish a big important anthology which includes poets from all walks of life and mediums and points in history, taking an honest and serious look at all the selections, with popularity one criterion, and critical judgment the other. Poetry cannot keep going on like this. A reckoning is needed.

58. Billy Collins —hated by other prose poets. Because he sells. Kill Robert Frost. Poetry as mobsters fighting for turf. So anyway, how many poets can fill an arena these days? Is Collins the last famous poet living? Are famous poets necessary?

59. Helen Vendler —she must remember Alabama, too.

60. Jorie Graham —in a pretense to be non-pretentious, she lost her gift. Got in trouble with Foetry.com. But survived.

61. John Latta —works at the University Michigan library.

62. Ron Silliman —not sure what’s going on with his blog.

63. Fanny Howe —won the Ruth Lilly Poetry Prize in 2009.

64. Julie Carr —Omnidawn published her in 2018.

65. Mary Angela Douglas —a poet of beauty and childhood.

66. Don Mee Choi —National Book Award 2020.

67. Rita Dove —her Penguin anthology produced controversy. She was too dignified to exploit it.

68. Daniel Borzutzky —won the National Book Award in 2016.

69. Sharon Olds —she won the Pulitzer with a book about divorcing her husband. She has written some extraordinary poems.

70. Mary Ruefle —destined for major prize greatness.

71. Peter Gizzi —was the lyric hope for a while.

72. Layli Long Soldier —her first volume of poetry was published in 2017 by Graywolf.

73. Dan Sociu —one of the best Romanian poets; had a chance to meet him (and the late David Berman) in Romania when Mazer and I visited.

74. Ocean Vuong —one of the strategies of contemporary poetry is the trope of tactile feeling. Winner of the 2017 T.S. Eliot prize.

75. Lawrence Rosenwald —editor of War No More: Three Centuries of American Antiwar & Peace Writing, 2016

76. Carlos Lara —Subconscious Colossus is his latest book.

77. Rachel Kaufman —Many To Remember is her new book of poems.

78. Billie Chernicoff —high praise from Kent Johnson.

79. Carolyn Forche —more poets! Bring them in, by the thousands, by the millions! Poets! Poets!

80. Michael Dickman —if a poem is cancelled because of something unkind in the poem (and yet not a reflection of the poet’s own views) is our complicity in this the death of poetry itself? Have the narrow dreams of Plato won?

81. Luke Kennard —from the Guardian (Sun 24 Oct 2021) : has won the Forward Prize for best collection for his “anarchic” response to Shakespeare’s sonnets, a work judges are predicting could “transform” students’ relationship with the Bard.

82. Louise Gluck —from the NY Times (Oct 26 2021) : Consisting of just 15 poems, “Winter Recipes from the Collective” extends the Nobel Laureate’s interest in silence and the void…

83. Murat Nemet-Nejat —a poet and editor of an anthology of contemporaryTurkish poetry.

84. Tom Orange —conceptual poet who has written on Clark Coolidge.

85. John Bradley —the editor of Eating the Pure Light: Homage to Thomas McGrath (Backwaters Press) which appeared in 2009.

86. Richard Owens —Damn the Caesars is his literary journal and Those Unknown his punk band.

87. Toi Derricote —The 2021 Wallace Stevens Award winner. She was a judge for the Wallace Stevens Award for many years, beginning in 2012. The stipend is $100,000.

88. Mark Halliday —a critic called his poetry “ultra-talk.”

89. Ben Lerner —poet, novelist, MacArthur genius grant recipient.

90. Seth Abramson —this lawyer, prof and poet went from Poetry MFA advocate to rabid political tweeter. Seems a throw-back, somehow, to the rough-and-tumble literary times of Poe. Fisticuffs and odes.

91. David Lehman —His BAP (Best American Poetry) began in 1988 with John Ashbery as guest editor. In the latest volume (2021) introduction he brags about the number of guest editors who have won Pulitzer prizes. Well, sure.

92. Jim Behrle —annually pokes fun of BAP.

93. Tracy K. Smith —Pulitzer prize winner and 2021 guest editor of BAP. Whitman-type poems of near-endless listing appears to be the latest trend.

94. Dana Gioia —2018 BAP guest editor. His essay decrying American poetry as a dying, sell-out industry is about 30 years old now and reflects feelings which were not new at the time, and will never go away. All we can do is forget everything else and keep our eyes focused on that Nobel.

95. Terrence Hayes —in the 2021 BAP.

96. Jonny Diamond —editor-in-chief of the always interesting Literary Hub.

97. Daisy Fried —nominated for a Book Critics Circle Award for Poetry.

98. Thomas Brady —makes these ridiculous lists.

99. Atticus —so much depends on “An open window in Paris/is all the world I need.” (poem from his “best-selling” book)

100. Stephen Cole— just some poet who puts his poems on Facebook (he’s really good).

A BRIEF HISTORY OF U.S. POETRY

Phillis Wheatley, Poems on various subjects, religious and moral - Age of  Revolution

1650 Anne Bradstreet’s The Tenth Muse Lately Sprung Up in America: By a Gentlewoman of Those Parts published in London.

1773 Phillis Wheatley, a slave, publishes Poems on Various Subjects, Religious and Moral. During the American Revolution she wrote to George Washington, who thanked her, praised her poetry, and invited her to his headquarters.

1791 The Autobiography of Benjamin Franklin is published in Paris, in French.  Ben Franklin’s Autobiography appears in London, for the first time in English, two years later.   Had it been published in America, the Europeans would have laughed.  The American experiment isn’t going to last, anyway.

Franklin, the practical man, the scientist, and America’s true founding father, weighs in on poetry: it’s frivolous.

1794  Samuel Coleridge and Robert Southey make plans to go to Pennsylvania in a communal living experiment, but their personalities clash and the plan is aborted.  Southey becomes British Poet Laureate twenty years later.

1803  William Blake, author of “America: A Prophecy” is accused of crying out “Damn the King!” in Sussex, England, narrowly escaping imprisonment for treason.

1815  George Ticknor, before becoming literature Chair at Harvard, travels to Europe for 4 years, spending 17 months in Germany.

1817  “Thanatopsis” by William Cullen Bryant appears in the North American Review.

1824  Byron, who wanted to travel to America (he met George Ticknor in Europe), dies in Greece.

1824  Lafayette, during tour of U.S, calls on Edgar Poe’s grandmother, revolutionary war veteran widow.

1832  Washington Irving edits London edition of William Cullen Bryant’s Poems to avoid politically offending British readers.

1835 Massachusetts senator and abolitionist John Greenleaf Whittier mobbed and stoned in Concord, New Hampshire.

1835  Henry Wadsworth Longfellow appointed Smith Professor of Modern Languages at Harvard.

1836  Ralph Waldo Emerson publishes 500 copies of Divinity School Address anonymously.  He will not publish another book for 6 years.

1838  Poe’s translated work begins appearing in Russia. Dostoevsky, influenced by Poe, publishes him.

1843  Transcendentalist, Unitarian minister, Harvard Divinity School student Christopher Pearse Cranch marries the sister of T.S. Eliot’s Unitarian grandfather; dedicates Poems to Emerson, published in The Dial, a magazine edited by Margaret Fuller and Emerson; frequent visitor to Brook Farm.  Cranch is more musical and sensuous than Emerson; even Poe can tolerate him; Cranch’s poem “Enosis” pre-figures Baudelaire’s “Correspondences.”

T.S. Eliot’s family is deeply rooted in New England Unitarianism and Transcendentalism through Cranch and Emerson’s connection to his grandfather, Harvard Divinity graduate, William Greenleaf Eliot, founder of Washington U., St. Louis.

1845  Elizabeth Barrett writes Poe with news of “The Raven’s” popularity in England.  The poem appeared in a daily American newspaper and produced instant fame, though Poe’s reputation as a critic and leader of the Magazine Era was well-established.  During this period Poe coins “Heresy of the Didactic” and “A Long Poem Does Not Exist.”  In a review of Barrett’s 1840 volume of poems which led to Barrett’s fame before she met Robert Browning, Poe introduced his piece by saying he would not, as was typically done, review her work superficially because she was a woman. Poe dedicated his 1845 Poems to Elizabeth Barrett. Then Robert Browning entered the picture.

1845 Poe accuses Longfellow of plagiarism.

1847  Ralph Waldo Emerson is in England, earning his living as an orator.

1848  Charles Baudelaire’s first translations of Poe appear in France.

1848  James Russell Lowell publishes “A Fable For Critics” anonymously.

1848 Female Poets of America, an anthology of poems by American women, is published by the powerful and influential anthologist, Rufus Griswold—who believes women naturally write a different kind of poetry.  Griswold’s earlier success, The Poets and Poetry of America (1842) contains 3 poems by Poe and 45 by Griswold’s friend, Charles Fenno Hoffman. In a review, Poe remarks that readers of anthologies buy them to see if they are in them.

1848  Poe publishes Eureka and the Rationale of Verse, exceptional works on the universe—and verse.

1849 Edgar Poe is apparently murdered in Baltimore; leading periodicals ignore strange circumstances of Poe’s death and one, Horace Greeley’s Tribune, hires Griswold (who signs his piece ‘Ludwig’) to take the occasion to attack the character of the poet. There is no press notice of Poe’s unusual passing. Baltimore Sun writer, Joseph Snodgrass, who happens to live close to where Poe is found in distress, and Poe’s hated cousin Neilson Poe (who happens to appear) are prime suspects according to Scarriet. The Baltimore Sun, like the New York Tribune, covers up any hint of foul play with bland and brief coverage.

1850 Nathaniel Hawthorne publishes The Scarlett Letter. There is recent speculation the work is loosely based on Edgar Poe, Fanny Osgood, and Rufus Griswold.

1855 Griswold reviews Whitman’s Leaves of Grass and calls it a “mass of stupid filth.”  Griswold, whose second wife was apparently a man (their divorce is very complicated, involving Griswold lending out his daughter) fills his review with words such as “vileness,” “rotting,” and “shame.”  Whitman later includes the Griswold review in one of his editions of Leaves.

1856  English Traits, extolls the English race, claiming it was the English “character” that vanquished India, is published in the U.S. and England, by poet and new age priest Ralph Waldo Emerson, as England waits for the inevitable Civil War to tear her rival, America, apart.

1859.  In a conversation with William Dean Howells, Emerson calls Hawthorne’s latest book “mush” and furiously calls Poe “the jingle man.”

1860  William Cullen Bryant introduces Abraham Lincoln at Cooper Union; the poet advises the new president on his cabinet selection.

1867  First collection of African American “Slave Songs” published.

1883  “The New Colossus” is composed by Emma Lazarus; engraved on the Statue of Liberty, 1903

1883  Poems of Passion by Ella Wheeler Wilcox rejected by publisher on grounds of immorality.

1888 “Casey at the Bat” published anonymously. The author, Ernest Thayer, does not become known as the author of the poem until 1909—he is the uncle of Scofield Thayer, who will publish “The Waste Land” in the revived Dial.

1890  Emily Dickinson’s posthumous book published by Mabel Todd and Thomas Higginson.  William Dean Howells gives it a good review, and it sells well.

1893  William James, the “nitrous oxide philosopher,” Emerson’s godson, becomes Gertrude Stein’s influential professor at Harvard.

1896 Paul Laurence Dunbar publishes Lyrics of Lowly Life.

1897  Wallace Stevens enters Harvard, falling under the spell of William James, as well as George Santayana.

1904  Yone Noguchi publishes “Proposal to American Poets” as the Haiku rage begins in the United States and Britain, mostly due to Japan’s surprising victory in the Russo-Japanese War. Imagism, eventually celebrated as “new,” is merely a copy of haiku, and belongs to the same trend.

1910  John Crowe Ransom, Fugitive, Southern Agrarian, New Critic, takes a Rhodes Scholarship at Oxford University.

1910  John Lomax publishes “Cowboy Songs and Frontier Ballads.”

1912  Harriet Monroe founds Poetry magazine; in 1880s attended literary gatherings in New York with William Dean Howells and Richard Henry Stoddard (Poe biographer) and in 1890s met Whistler, Henry James, Thomas Hardy and Aubrey BeardsleyEzra Pound is Poetry’s London editor.

1913  American Imagist poet H.D. marries British Imagist poet Richard Aldington.

1913 The Armory Show in New York, which brings modern art to America, occurs under the guidance of Pound and T.S. Eliot’s attorney and modern art collector, John Quinn.

1914 Robert Frost meets Ezra Pound and Amy Lowell in London.

1914  Ezra Pound works as Yeats‘ secretary in Sussex, England.

1915  Edgar Lee Masters’ Spoon River Anthology published.  Masters was law partner of Clarence Darrow.

1916 Witter Bynner and Arthur Davison Ficke publish Spectra, a poetry hoax spoofing Imagism and everyone is fooled.

1917  Robert Frost begins teaching at Amherst College.

1920  “The Sacred Wood” by T.S. Eliot, banker, London. Decries “Hamlet.” Writes, “immature poets imitate, mature poets steal.”

1921  Margaret Anderson’s Little Review loses court case and is declared obscene for publishing a portion of James Joyce’s Ulysses, which is banned in the United States.  Random House immediately tries to get the ban lifted in order to publish the work.

1922  T.S.Eliot’s “The Waste Land” awarded The Dial Prize before Ezra Pound has finished editing it.

1922  D.H Lawrence and Frieda stay with Mabel Dodge in Taos, New Mexico.

1923  Edna St. Vincent Millay wins Pulitzer Prize for Poetry.

1923  William Butler Yeats wins Nobel Prize for Literature

1924  Robert Frost wins Pulitzer Prize for Poetry

1924  Ford Maddox Ford founds the Transatlantic Review.   Stays with Allen Tate and Robert Lowell in his lengthy sojourn to America, and helps to found the American Writing Program Era.

1924  Marianne Moore wins The Dial Prize; becomes editor of The Dial the next year, as E.E. Cummings elopes with the retiring editor Scofield Thayer’s wife.

1924  James Whitcomb Riley Hospital for Children opens.

1925  E.E. Cummings wins The Dial Prize.

1926  Yaddo Artist Colony opens

1926 Dorothy Parker publishes her first book of poems, With Enough Rope.

1927  Walt Whitman biography wins Pulitzer Prize

1927 Laura Riding, who published poems in The Fugitive, together with Robert Graves, influence William Empson and the New Criticism with their Survey of Modernist Poetry. She’s almost killed jumping out a 4th story window 2 years later.

1929 Harry Crosby, Black Sun Press editor, free verse poet, nephew of JP Morgan, dies at 31 in suicide pact with his lover.

1930  “I’ll Take My Stand” published by Fugitive/Southern Agrarians and future New Critics, John Crowe Ransom, Robert Penn Warren, Cleanth Brooks, Allen Tate defend ways of the Old South.

1932  Paul Engle wins Yale Younger Poet Prize, judged by member of John Crowe Ransom’s Fugitive circle.  Engle, a prolific fundraiser, builds the Iowa Workshop into a Program Writing Empire.

1933  T.S. Eliot delivers his speech on “free-thinking jews” at the University of Virginia.

1934  “Is Verse A Dying Technique?” published by Edmund Wilson.

1936  New Directions founded by Harvard sophomore James Laughlin.

1937  Robert Lowell camps out in Allen Tate’s yard.  Lowell has left Harvard to study with John Crowe Ransom at Kenyon College. The trip by Lowell was recommended by the Lowell family psychiatrist, the Fugitive poet, Merrill Moore.

1938  First Edition of textbook Understanding Poetry by New Critics Brooks and Warren, helps to canonize unread poets Williams and Pound, while attacking Poe.

1938  Aldous Huxley moves to Hollywood.

1938 Delmore Schwartz publishes In Dreams Begin Responsibilities, at 25, a smash-hit volume of short stories and poetry.

1939  Allen Tate starts Writing Program at Princeton.

1939  W.H. Auden moves to the United States and earns living as college professor.

1940  Mark Van Doren is awarded Pulitzer Prize for Poetry

1941 F.O. Matthiessen publishes American Renaissance: Art and Expression in the Age of Emerson and Whitman.

1943  Ezra Pound indicted for treason by the United States government.

1946  Wallace Stegner founds Stanford Writing Program.  Yvor Winters will teach Pinsky, Haas, Hall and Gunn.

1948  Pete Seeger, nephew of WW I poet Alan Seeger (“I Have A Rendezvous With Death”) forms The Weavers, the first singer-songwriter ‘band’ in the rock era.

1948  T.S. Eliot wins Nobel Prize

1949  T.S. Eliot viciously attacks Poe in From Poe To Valery

1949  Ezra Pound is awarded the Bollingen Prize.  The poet Robert Hillyer protests and Congress resolves its Library will no longer fund the award.  Hillyer accuses Paul Melon, T.S. Eliot and New Critics of a fascist conspiracy.

1949 Elizabeth Bishop appointed U.S. Poet Laureate.

1950  William Carlos Williams wins first National Book Award for Poetry

1950  Gwendolyn Brooks wins Pulitzer Prize for Poetry.

1950 W.S Merwin tutors Robert Graves‘ son in Majorca.

1951  John Crowe Ransom, the Modernist T.S. Eliot of the American South, is awarded the Bollingen Prize.

1953  Dylan Thomas dies in New York City.

1954  Theodore Roethke wins Pulitzer Prize for Poetry.

1955 John Ashbery wins Yale Younger Prize for Some Trees. Judge W.H. Auden requested the manuscript.

1957  Allen Tate is awarded the Bollingen.

1957  “Howl” by Beat poet Allen Ginsberg triumphs in obscenity trial as the judge finds book “socially redeeming;” wins publicity in Time & Life.

1957  New Poets of England and America, Donald Hall, Robert Pack, Louis Simspon, eds.

1959  Carl Sandburg wins Grammy for Best Performance – Documentary Or Spoken Word (Other Than Comedy) for his recording of Aaron Copland’s Lincoln Portrait with the New York Philharmonic.

1959  M.L Rosenthal coins the term “Confessional Poetry” in The Nation as he pays homage to Robert Lowell.

1959 Donald Justice wins the Lamont Poetry Prize for Summer Anniversaries.

1960  New American Poetry 1945-1960, Donald Allen, editor.

1961  Yvor Winters is awarded the Bollingen.

1961  Denise Levertov becomes poetry editor of The Nation.

1961  Louis Untermeyer appointed Poet Laureate Consultant In Poetry To the Library of Congress (1961-63)

1961 Robert Graves appointed Professor of Poetry at Oxford—holds the post until 1966.

1962  Sylvia Plath takes her own life in London.

1964  John Crowe Ransom wins The National Book Award for Selected Poems. His Kenyon Review is where Plath and other poets were most eager to publish.

1964  Keats biography by W.Jackson Bate wins Pulitzer. The Burden of the Past and the English Poet by the same author predates, and is a more readable version of, Harold Bloom’s Anxiety of Influence.

1965  Horace Gregory is awarded the Bollingen.  Gregory had attacked the poetic reputation of Edna St. Vincent Millay.

1967  Anne Sexton wins Pulitzer Prize for Poetry.

1968  Shakespeare’s Romeo & Juliet, directed by Zeffirelli, nominated for Best Picture by Hollywood.

1971  The Pound Era by Hugh Kenner published.  Kenner, a friend of William F. Buckley, Jr., saved Pound’s reputation with this work; Kenner also savaged the reputation of Millay.

1971  W.S Merwin wins Pulitzer Prize for Poetry.

1972  John Berryman jumps to his death off bridge near University of Minnesota.

Berryman’s classes in the 50’s were filled with future prize-winners, not necessarily because he and his students were great, but because his students were on the ground-floor of the Writing Program era.

1972  Frank O’Hara wins National Book Award for Collected Poems

1974 Anne Sexton commits suicide.

1975  Gary Snyder wins Pulitzer Prize for Poetry.

1976  Humboldt’s Gift, Saul Bellow’s novel on Delmore Schwartz, wins Pulitzer.

1976 John Ashbery wins Pulitzer, National Book Critics Circle Award, National Book Award for Self-Portrait In A Convex Mirror

1977 Gerald Stern wins the Lamont Poetry Prize, Judges Alan Dugan, Philip Levine, and Charles Wright.

1978  Language magazine, Bernstein & Andrews, begins 4 year run.  Charles Bernstein studied J.L Austin’s brand of ‘ordinary language philosophy’ at Harvard.

1980  Helen Vendler wins National Book Critics Circle Award

1981 Seamus Heaney becomes Harvard visiting professor.

1981 Carolyn Forche wins the Lamont Poetry Prize for The Country Between Us.

1981  Derek Walcott founds Boston Playwrights’ Theater at Boston University.

1981  Oscar Wilde biography by Richard Ellman wins Pulitzer.

1982  Sylvia Plath’s Collected Poems wins Pulitzer.

1984  Harold Bloom savagely attacks Poe in review of Poe’s Library of America works (2 vol) in New York Review of Books, repeating similar attacks by Yvor Winters, Aldous Huxley and T.S. Eliot.

1984 Charles Bernstein at a poetry conference in Alabama mentions the “policemen of official verse culture.” Gerald Stern presses Bernstein to name names. He does not—except to mention T.S. Eliot as being disliked by WC Williams.

1984  Marc Smith founds Slam Poetry in Chicago.

1984  Mary Oliver is awarded the Pulitzer Prize for Poetry.

1985 Gwendolyn Brooks appointed U.S. Poet Laureate for 1985-6.

1986  Golden Gate by Vikram Seth, a novel in verse, is published.

1987  The movie “Barfly” depicts life of Charles Bukowski.

1988  David Lehman’s Best American Poetry Series debuts with John Ashbery as first guest editor.  The first words of the first poem (by A.R. Ammons) in the Series are: William James.

1990 Robert Bly publishes Iron John.

1991  “Can Poetry Matter?” by Dana Gioia is published in The Atlantic. According to the author, poetry has become an incestuous viper’s pit of academic hucksters.

1996  Jorie Graham wins Pulitzer Prize for Poetry.

1997 Kent Johnson and Tosa Motokiyu are suspected authors of Doubled Flowering: From the Notebooks of Araki Yasusada, one of the richest and greatest controversies in world letters.

1999  Peter Sacks wins Georgia Prize, Jorie Graham, judge.

1999  Billy Collins signs 3-book, 6-figure deal with Random House.

2002  Ron Silliman’s Blog founded. Silliman will attack “quietism” while defending the poetry avant-garde.

2002  Louis Menand’s The Metaphysical Club wins Pulitzer Prize.

2002  Garrison Keillor’s Good Poems published.

2004  Foetry.com founded by Alan Cordle. The site looks at Poetry Prizes, judges, and poets, in a controversial manner. Shortly before his death, Robert Creeley defends his poetry colleagues on Foetry.com.

2004  Franz Wright wins Pulitzer Prize for Poetry.

2005 Ted Kooser wins Pulitzer Prize for Poetry.

2005 The LA Times call Alan Cordle “the most despised…most feared man” in American poetry.”

2005  William Logan wins National Book Critics Circle Award for Criticism.

2006  Fulcrum No. 5, editors Philip Nikolayev, Katia Kapovich, appears, featuring works of Landis Everson and his editor, Ben Mazer, also Eliot Weinberger, Glyn Maxwell, Joe Green, and Marjorie Perloff.

2007 Joan Houlihan dismisses Foetry.com as “losers” in a Poets & Writers letter. Defends the integrity of Georgia and Tupelo press.

2007  Paul Muldoon succeeds Alice Quinn as poetry editor of The New Yorker.

2007 Frank Bidart wins the Bollingen Prize.

2009 Fanny Howe is awarded the Ruth Lilly Poetry Prize.

2009  The Program Era by Mark McGurl, published by Harvard University Press, an historic look at college creative writing.

2009  Following the mass banning of Alan Cordle, Thomas Brady, Desmond Swords and Christopher Woodman from The Poetry Foundation’s Blog Harriet (which soon bans all public comments), they decide to create Blog Scarriet (September 1 2009 to present)

2010 Sir Christopher Ricks publishes True Friendship: Geoffrey Hill, Anthony Hecht, and Robert Lowell Under the Sign of Eliot and Pound.

2011 Rita Dove publishes her Penguin Anthology of Twentieth Century American Poetry. Helen Vendler and Marjorie Perloff object to her choices. Scarriet defends Dove.

2012 Natasha Trethewey is appointed U.S. Poet Laureate

2013 Mark Edmundson, U VA professor, attacks the quality of contemporary poetry in Harper’s magazine.

2013 Sharon Olds wins the Pulitzer for Stag’s Leap.

2013 Don Share becomes editor of Poetry.

2013 Patricia Lockwood’s poem “Rape Joke” goes viral on social media.

2013 Paul Lewis, professor, brings Poe statue to Boston—the Jingle Man returneth.

2014 Billy Collins interviews Paul McCartney.

2014 Maya Angelou dies.

2014 Peter Gizzi publishes Selected Poems.

2015 Derek Michael Hudson is controversially published as Yi-Fen Chou in David Lehman’s Best American Poetry series, Sherman Alexie, guest editor.

2015 Claudia Rankine’s Citizen: An American Lyric wins multiple poetry and criticism awards, and is on New York Times bestseller list in nonfiction.

2016 Bob Dylan wins Nobel Prize in Literature.

2016 Ron Padgett writes 3 poems for the film Paterson.

2016 Helen Vendler reviews Collected Poems of John Crowe Ransom, editor, Ben Mazer, in NYR

2017 John Ashbery dies.

2017 William Logan, poet, and the best-know poetry reviewer in America, accuses Norton editor Jill Bialosky of plagiarism. Her book is called Poetry Will Save Your Life.

2017 Garrison Keillor, who broadcasts contemporary poems in his Writer’s Almanac, accused of sexual harassment.

2017 Jorie Graham wins the Wallace Stevens Award with a stipend of $100,000.

2017 Kevin Young becomes poetry editor of The New Yorker.

2017 Kenneth Goldsmith lives and dies by “found poem.” Autopsy of Michael Brown causes outrage.

2018 Anders Carlson-Wee apologizes for his poem in the Nation.

2019 Marilyn Chin is awarded the American Academy of Arts and Letters Award in Literature.

2020 Ben Mazer resurrects the poems of Harry Crosby.

2020 Louise Gluck wins Nobel Prize for Literature.

2020 Don Share resigns as editor of Poetry for publishing poem by Michael Dickman.

2021 Amanda Gorman reads at Joe Biden’s inauguration.

2021 Thomas Graves, a Scarriet editor, publishes Ben Mazer and the New Romanticism.

SCARRIET POETRY HOT ONE HUNDRED!

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AMANDA GORMAN is an “American poet and activist,” according to Wikipedia.
CATE MARVIN “THE REPUBLICAN PARTY IS EVIL. Straight up evil. It’s just beyond.” –Facebook
3 LOUISE GLUCK 2020 Nobel Prize for Literature
4 JOY HARJO In her third term as Poet Laureate.
5 DON MEE CHOI DMZ Colony, Wave Books, wins 2020 National Book Award.
6 JERICHO BROWN The Tradition, Copper Canyon Press, wins 2020 Pulitzer Prize
NOOR HINDI Poem “Fuck Your Lecture on Craft, My People Are Dying” in Dec 2020 Poetry.
8 NAOMI SHIHAB NYE Her poem “kindness” read online by Emma Thompson has 2.3 million Instagram views
9 WAYNE MILLER “When Talking About Poetry Online Goes Very Wrong” 2/8/21 essay in Lithub.
10 WILLIAM LOGAN “she speaks in the voice of a documentary narrator, approaching scenes in a hazmat suit.”
11 VICTORIA CHANG Obit Copper Canyon Press, longlist for 2020 National Book Award; also, in BAP.
12 ALAN CORDLE founder of Foetry, “most despised..most feared man in American poetry” —LA Times 2005
13 RUPI KAUR Has sold 3 million books
14 DON SHARE Resigned as Poetry editor August of 2020.
15 MARY RUEFLE Dunce, Wave Books, finalist for 2020 Pulitzer Prize
16 ANTHONY CODY Borderland Apocrypha, longlist for 2020 National Book Award
17 LILLIAN-YVONNE BERTRAM Travesty Generator, longlist for 2020 National Book Award
18 EDUARDO C. CORRAL Guillotine, longlist for 2020 National Book Award
19 PAISLEY REKDAL Poet Laureate of Utah, Guest editor for the 2020 Best American Poetry
20 DORIANNE LAUX Only As the Day is Long: New and Selected Poems, Norton, finalist for 2020 Pulitzer Prize
21 DANEZ SMITH Latest book of poems, Homie, published in 2020.
22 ILYA KAMINSKY LA Times Book Prize in 2020 for Deaf Republic.
23 RON SILLIMAN in Jan. 2021 Poetry “It merely needs to brush against the hem of your gown.”
24 FORREST GANDER Be With, New Directions, winner of the 2019 Pulitzer Prize
25 RITA DOVE Her Penguin Twentieth-Century of American Poetry Anthology is 10 years old. Collected Poems, 2016.
26 NATALIE DIAZ Postcolonial Love Poem, longlist for 2020 National Book Award
27 TERRANCE HAYES “I love how your blackness leaves them in the dark.”
28 TIMOTHY DONNELLY The Problem of the Many, Wave Books, 2019
29 REGINALD DWAYNE BETTS In 2020 BAP
30 FRANK BIDART Half-light: Collected Poems 1965-2016 (FSG) winner, 2018 Pulitzer
31 OCEAN VUONG “this is how we loved: a knife on the tongue turning into a tongue”
32 MATTHEW ZAPRUDER Disputed Ocean Vuong’s Instagram reflections on metaphor.
33 SHARON OLDS Stag’s Leap won 2013 Pulitzer; she’s in 2020 BAP
34 HONOREE FANONNE JEFFERS The Age of Phillis, longlist for 2020 National Book Award.
35 CLAUDIA RANKINE Citizen came out in 2014.
36 HENRI COLE Blizzard, FSG, is his tenth book of poems.
37 TRACY K. SMITH In the New Yorker 10/5
38 DIANE SEUSS In the New Yorker 9/14
39 SUSHMITA GUPTA “She missed her room, her pillow, her side of the bed, her tiny bedside lamp.”
40 ANNE CARSON has translated Sappho and Euripides.
41 AL FILREIS Leads “Poem Talk” with guests on Poetry’s website
42 MARY ANGELA DOUGLAS “the larks cry out and not with music”
43 STEPHEN COLE “…the everlasting living and the longtime dead feast on the same severed, talking head.”
44 MARILYN CHIN Her New and Selected was published in 2018 (Norton).
45 KEVIN GALLAGHER Editor, poet, economist, historian has re-discovered the poet John Boyle O’Reilly.
46 DAVID LEHMAN Series Editor for Best American Poetry—founded in 1988.
47 JIM BEHRLE A thorn in the side of BAP.
48 ROBIN RICHARDSON The Canadian poet wrote recently, “I have removed myself completely from Canadian literature.”
49 PAOLA FERRANTE New editor of Minola Reivew.
50 A.E. STALLINGS Like, FSG, finalist for 2019 Pulitzer
51 TAYLOR JOHNSON Poetry Blog: “felt presence of the black crowd as we study our amongness together.”
52 PATRICA SMITH Incendiary Art, TriQuarterly/Northwestern U, finalist for 2018 Pulitzer
53 TYLER MILLS in Jan. 2021 Poetry “Gatsby is not drinking a gin rickey. Dracula not puncturing a vein.”
54 SEUNGJA CHOI in Jan. 2021 Poetry “Dog autumn attacks. Syphilis autumn.”
55 ATTICUS “It was her chaos that made her beautiful.”
56 JAMES LONGENBACH Essay in Jan. 2021 Poetry, wonders: would Galileo have been jailed were his claims in verse?
57 DAN SOCIU Hit 3 home runs for the Paris Goths in Scarriet’s 2020 World Baseball League.
58 PHILIP NIKOLAYEV Editor of Fulcrum and “14 International Younger Poets” issue from Art and Letters.
59 SUSMIT PANDA “Time walked barefoot; the clock gave it heels.”
60 BRIAN RIHLMANN Poet of working-class honesty.
61 TYREE DAYE in the New Yorker 1/18/21
62 JANE WONG in Dec. 2020 Poetry “My grandmother said it was going to be long—“
63 ALAN SHAPIRO Reel to Reel, University of Chicago Press, finalist for 2015 Pulitzer
64 PIPPA LITTLE in Dec. 2020 Poetry “I knew the names of stones at the river mouth”
65 PATRICK STEWART Read Shakespeare’s Sonnets online to millions of views.
66 STEVEN CRAMER sixth book of poems, Listen, published in 2020.
67 HIEU MINH NGUYEN In 2020 BAP
68 BEN MAZER New book on Harry Crosby. New book of poems. Unearthing poems by Delmore Schwartz for FSG.
69 KEVIN YOUNG Poetry editor of the New Yorker
70 BILLY COLLINS Poet Laureate of the U.S. 2001 to 2003
71 ARIANA REINES In 2020 BAP
72 VALERIE MACON fired as North Carolina poet laureate—when it was found she lacked publishing credentials.
73 ANDERS CARLSON-WEE Nation magazine published, then apologized, for his poem, “How-To,” in 2018.
74 DANA GIOIA 99 Poems: New and Selected published in 2016. His famous Can Poetry Matter? came out in 1992.
75 YUSEF KOMUNYAKAA In 2020 BAP
76 MARJORIE PERLOFF published Edge of Irony: Modernism in the Shadow of the Habsburg Empire in 2016.
77 HELEN VENDLER her The Ocean, the Bird, and the Scholar: Essays on Poets and Poetry came out in 2015.
78 MEI-MEI BERSSENBRUGGE A Treatise On Stars, longlist for 2020 National Book Award—her 13th book.
79 GEORGE BILGERE  Belongs to the Billy Collins school. Lives in Cleveland.
80 CAROLYN FORCHE 2020 saw the publication of her book In the Lateness of the World: Poems from Penguin.
81 BOB DYLAN “Shall I leave them by your gate? Or sad-eyed lady, should I wait?”
82 RICHARD HOWARD  has translated Baudelaire, de Beauvoir, Breton, Foucault, Camus and Gide.
83 GLYN MAXWELL The playwright/poet’s mother acted in the original Under Milk Wood on Broadway in 1956.
84 KAVEH AKBAR published in Best New Poets
85 D.A. POWELL The poet has received a Paul Engle Fellowship.
86 JOHN YAU In 2020 BAP
87 DAIPAYAN NAIR “Hold me tight. Bones are my immortality…”
88 ANDREEA IULIA SCRIDON in 14 International Younger Poets from Art and Letters.
89 LORI GOMEZ Sassy and sensual internet poet—Romantic who uses F-bombs.
90 JORIE GRAHAM In 2020 BAP
91 SIMON ARMITAGE In the New Yorker 9/28
92 TOMMYE BLOUNT Fantasia for the Man in Blue, longlist for 2020 National Book Award.
93 TYLER KNOTT GREGSON on Twitter: “let us sign/our names/ in the/emptiness”
94 STEPHANIE BURT Close Calls With Nonsense: Reading New Poetry published in 2009
95 WILLIE LEE KINARD III in Jan. 2021 Poetry “The lesbians that lived in the apartment to the left…”
96 MICHAEL DICKMAN His poem about his grandmother in 2020 July/August Poetry was controversial.
97 FATIMAH ASGHAR published in Best New Poets
98 RICK BAROT The Galleons, Milkweed Editions, on longlist for 2020 National Book Award and excerpted in BAP 2020
99 DERRICK MICHAEL HUDSON had his 15 minutes of fame in Best American Poetry 2015.
100 JEAN VALENTINE (d. 12/30/20) in New Yorker 1/18/21

HAPPY NEW YEAR! 2017 SCARRIET POETRY HOT 100

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1 Bob Dylan. Nobel Prize in Literature.

2 Ron Padgett. Hired to write three poems for the current film Paterson starring Adam Driver and Golshifteh Farahani.

3 Peter Balakian. Ozone Journal, about the Armenian genocide, won 2016 Pulitzer in Poetry.

4 Sherman Alexie. BAP 2015 ‘yellow-face controversy’ editor’s memoir drops this June.

5 Eileen Myles. Both her Selected Poems & Inferno: A Poet’s Novel making MSM lists.

6 Claudia Rankine. Citizen: important, iconic, don’t ask if it’s good poetry.

7 Anne Carson. The Canadian’s two latest books: Decreation & Autobiography of Red.

8 Paige Lewis. Her poem “The River Reflects Nothing” best poem published in 2016.

9 William Logan. In an age of poet-minnows he’s the shark-critic.

10 Ben Mazer. “In the alps I read the shipping notice/pertaining to the almond and the lotus”

11 Billy Collins. The poet who best elicits a tiny, sheepish grin.

12 John Ashbery. There is music beneath the best of what this New York School survivor does.

13 Joie Bose. Leads the Bolly-Verse Movement out of Kolkata, India.

14 Mary Oliver. Her latest book, Felicity, is remarkably strong.

15 Daipayan Nair.  “I am a poet./I kill eyes.”

16 Nikky Finny. Her book making MSM notices is Head Off & Split.

17 Sushmita Gupta. [Hers the featured painting] “Oh lovely beam/of moon, will you, too/deny me/soft light and imagined romance?”

18 A.E. Stallings. Formalism’s current star.

19 W.S. Merwin. Once the house boy of Robert Graves.

20 Mary Angela Douglas. “but God turns down the flaring wick/color by color almost/regretfully.”

21 Sharon Olds. Her Pulitzer winning Stag’s Leap is about her busted marriage.

22 Valerie Macon. Briefly N.Carolina Laureate. Pushed out by the Credentialing Complex.

23 George Bilgere. Imperial is his 2014 book.

24 Stephen Dunn. Norton published his Selected in 2009.

25 Marilyn Chin. Prize winning poet named after Marilyn Monroe, according to her famous poem.

26 Kushal Poddar. “The water/circles the land/and the land/my heaven.”

27 Stephen Burt. Harvard critic’s latest essay “Reading Yeats in the Age of Trump.” What will hold?

28 Joe Green. “Leave us alone. Oh, what can we do?/The wild, wild winds go willie woo woo.”

29 Tony Hoagland. Tangled with Rankine over tennis and lost.

30 Cristina Sánchez López. “I listen to you while the birds erase the earth.”

31 Laura Kasischke. Awkward social situations portrayed by this novelist/poet.

32 CAConrad. His latest work is The Book of Frank.

33 Terrance Hayes. National Book Award in 2010, a MacArthur in 2014

34 Robin Coste Lewis. Political cut-and-paste poetry.

35 Stephen Cole. “And blocked out the accidental grace/That comes with complete surprise.”

36 Martín Espada. Writes about union workers.

37 Merryn Juliette “And my thoughts unmoored/now tumbling/Like sand fleas on the ocean floor”

38 Daniel Borzutzky. The Performance of Being Human won the National Book Award in 2016.

39 Donald Hall. His Selected Poems is out.

40 Diane Seuss. Four-Legged Girl a 2016 Pulitzer finalist.

41 Vijay Seshadri. Graywolf published his 2014 Pulitzer winner.

42 Sawako Nakayasu. Translator of Complete Poems of Chika Sagawa.

43 Ann Kestner. Her blog since 2011 is Poetry Breakfast.

44 Rita Dove. Brushed off Vendler and Perloff attacks against her 20th century anthology.

45 Marjorie Perloff. A fan of Charles Bernstein and Frank O’hara.

46 Paul Muldoon. Moy Sand and Gravel won Pulitzer in 2003.

47 Frank Bidart. Winner of the Bollingen. Three time Pulitzer finalist.

48 Frederick Seidel. Compared “Donald darling” Trump to “cow-eyed Hera” in London Review.

49 Alice Notley. The Gertrude Stein of the St. Mark’s Poetry Project.

50 Jorie Graham. She writes of the earth.

51 Maggie Smith. “Good Bones.” Is the false—“for every bird there is a stone thrown at a bird”— poetry?

52 Adrian Matejka. His book The Big Smoke is about the boxer Jack Johnson.

53 Elizabeh Alexander. African American Studies professor at Yale. Read at Obama’s first inauguration.

54 Derek Walcott. Convinced Elizabeth Alexander she was a poet as her mentor at Boston University.

55 Richard Blanco. Read his poem, “One Today,” at Obama’s second inauguration.

56 Louise Glück. A leading serious poet.

57 Kim Addonizio. Bukowski in a Sundress: Confessions from a Writing Life came out in 2016.

58 Kay Ryan. An Emily Dickinson who gets out, and laughs a little.

59 Lyn Hejinian. An elliptical poet’s elliptical poet.

60 Vanessa Place. Does she still tweet about Gone With The Wind?

61 Susan Howe. Born in Boston. Called Postmodern.

62 Marie Howe. The Kingdom of Ordinary Time is her latest book.

63 Glynn Maxwell. British poetry influencing Americans? Not since the Program Era took over.

64 Robert Pinsky. Uses slant rhyme in his translation of Dante’s terza rima in the Inferno.

65 David Lehman. His Best American Poetry (BAP) since 1988, chugs on.

66 Dan Sociu. Romanian poet of the Miserabilism school.

67 Chumki Sharma. The great Instagram poet.

68 Matthew Zapruder. Has landed at the N.Y. Times with a poetry column.

69 Christopher Ricks. British critic at Boston University. Keeping T.S. Eliot alive.

70 Richard Howard. Pinnacle of eclectic, Francophile, non-controversial, refinement.

71 Dana Gioia. Poet, essayist.  Was Chairman of NEA 2003—2009.

72 Alfred Corn. The poet published a novel in 2014 called Miranda’s Book.

73 Jim Haba. Noticed by Bill Moyers. Founding director of the Geraldine R. Dodge Poetry Festival.

74 Hessamedin Sheikhi. Young Iranian poet translated by Shohreh (Sherry) Laici

75 Pablo Larrain. Directed 2016 film Neruda.

76 Helen Vendler. Wallace Stevens champion. Helped Jorie Graham.

77 Kenneth Goldsmith. Fame for poetry is impossible.

78 Cate Marvin. Oracle was published by Norton in 2015.

79 Alan Cordle. Still the most important non-poet in poetry.

80 Ron Silliman. Runs a well-known poetry blog. A Bernie man.

81 Natalie Diaz.  Her first poetry collection is When My Brother Was An Aztec.

82 D.A. Powell. Lives in San Francisco. His latest book is Repast.

83 Edward Hirsch. Guest-edited BAP 2016.

84 Dorianne Laux. Will always be remembered for “The Shipfitter’s Wife.”

85 Juan Felipe Herrera. Current Poet Laureate of the United States.

86 Patricia Lockwood. Her poem “Rape Joke” went viral in 2013 thanks to Twitter followers.

87 Kanye West. Because we all know crazy is best.

88 Charles Bernstein. Hates “official verse culture” and PWCs. (Publications with wide circulation.)

89 Don Share. Editor of Poetry.

90 Gail Mazur. Forbidden City is her seventh and latest book.

91 Harold Bloom. Since Emerson, Henry James, and T.S. Eliot are dead, he keeps the flame of Edgar Allan Poe hatred alive.

92 Alan Shapiro.  Life Pig is his latest collection.

93 Dan Chiasson. Reviews poetry for The New Yorker.

94 Robert Hass. “You can do your life’s work in half an hour a day.”

95 Maurice Manning.  One Man’s Dark is a “gorgeous collection” according to the Washington Post.

96 Brian Brodeur. Runs a terrific blog: How A Poem Happens, of contemporary poets.

97 Donald Trump. Tweets-in-a-shit-storm keeping the self-publishing tradition alive.

98 Ben Lerner. Wrote the essay “The Hatred of Poetry.”

99 Vidyan Ravinthiran. Editor at Prac Crit.

100 Derrick Michael Hudson. There’s no fame in poetry.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

YES! ANOTHER SCARRIET POETRY HOT 100!!!

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1. Vanessa Place —The High Creator does not create.

2. Kenneth Goldsmith —Death to the “creative” once and for all.

3. Simon Armitage —Best known for 9/11 poem, wins Oxford Poetry Professorship

4. A.E. Stallings —Lost the Oxford. World is still waiting for a good New Formalist poet.

5. John Ashbery —Doesn’t need to be good. Unlike New Formalists, his content and form agree.

6. Marjorie Perloff —Must confront this question: is the “non-creative” nearly racist by default?

7. Ron Silliman —Keeps tabs on the dying. Burned by the Avant Racism scandal.

8. Stephen Burt —Stephanie goes to Harvard.

9. Rita Dove —We asked her about Perloff; she laughed. No intellectual pretense.

10. Claudia Rankine —Social confrontation as life and death.

11. Juan Felipe Herrera —New U.S. Poet Laureate. MFA from Iowa. Farm workers’ son.

12. William Logan —“Shakespeare, Pope, Milton by fifth grade.” In the Times. He’s trying.

13. Patricia Lockwood —“Rape Joke” went Awl viral.

14. Lawrence Ferlinghetti —At 96, last living Beat.

15. Richard Wilbur —At 94, last living Old Formalist.

16. Don Share —Fuddy-duddy or cutting edge? It’s impossible to tell with Poetry.

17. Valerie Macon —Good poet. Hounded from NC Laureate job for lacking creds.

18. Helen Vendler —New book of essays a New Critical tour de force. Besotted with Ashbery and Graham.

19. Cathy Park Hong —Fighting the racist Avant Garde.

20. David Lehman —As the splintering continues, his BAP seems less and less important.

21. Billy Collins —His gentle historical satire is rhetoric nicely fitted to free verse.

22. David Orr —Common sense critic at the Times.

23. Frank Bidart —Student of Lowell and Bishop, worked with James Franco. Drama. Confessionalism.

24. Kevin Coval —Co-editor of Breakbeat Poets: New American Poetry in the Age of Hip-Hop.

25. Philip Nikolayev —Globe-trotting translator, editor, poet.

26. Ben Mazer —Neo-Romantic. Has advanced past Hart Crane.

27. Amy KingHates mansplaining. 

28. Sharon Olds —Best living female poet?

29. Louise Gluck —Her stock is quietly rising.

30. Jorie Graham —Her Collected has landed.

31. George Bilgere —If you like Billy Collins…and what’s wrong with that?

32. Garrison Keillor —Is he retiring?

33. Kent Johnson —Is his Prize List so quickly forgotten?

34. David Biespiel —One of the villagers trying to chase Conceptualism out of town.

35. Carol Ann Duffy —The “real” Poet Laureate—she’s Brih-ish.

36. Cate Marvin —Poet who leads the VIDA hordes.

37. Lyn Hejinian —The best Language Poet?

38. Dan ChiassonNew Yorker house critic.

39. Michael Robbins —As with Logan, we vastly prefer the criticism to the poetry.

40. Joe Green —His Selected, The Loneliest Ranger, has been recently published.

41. Harold Bloom —The canonizer.

42. Dana Gioia —The best of New Formalism.

43. Seth Abramson —Meta-Modernism. That dog won’t hunt.

44. Henry Gould —Better at responding than asserting; reflecting the present state of Criticism today.

45. W.S. Merwin —Knew Robert Graves—who recommended mushroom eating (yea, that kind of mushroom) as Oxford Poetry Professor in the 60s.

46. Marilyn Chin —Passionate lyricist of “How I Got That Name.”

47. Anne Carson —“The Glass Essay” is a confessional heartbreak.

48. Terrence Hayes —Already a BAP editor.

49. Timothy Steele —Another New Formalist excellent in theorizing—but too fastidious as a poet.

50. Natasha Trethewey —Was recently U.S. Poet Laureate for two terms.

51. Tony Hoagland —Hasn’t been heard from too much since his tennis poem controversy.

52. Camille Paglia —Aesthetically, she’s too close to Harold Bloom and the New Critics.

53. William Kulik —Kind of the Baudelaire plus Hemingway of American poetry. Interesting, huh?

54. Mary Oliver —Always makes this list, and we always mumble something about “Nature.”

55. Robert Pinsky —He mentored VIDA’s Erin Belieu.

56. Alan Cordle —We will never forget how Foetry.com changed the game.

57. Cole Swensen –A difficult poet’s difficult poet.

58. Charles Bernstein —One day Language Poetry will be seen for what it is: just another clique joking around.

59. Charles Wright —Pulitzer in ’98, Poet Laureate in ’14.

60. Paul Muldoon New Yorker Nights

61. Geoffrey Hill —The very, very difficult school.

62. Derek Walcott —Our time’s Homer?

63. Janet Holmes —Program Era exemplar.

64. Matthew Dickman —The youth get old. Turning 40.

65. Kay Ryan —Are her titles—“A Ball Rolls On A Point”—better than her poems?

66. Laura Kasischke —The aesthetic equivalent of Robert Penn Warren?

67. Nikki Finney —NAACP Image Award

68. Louis Jenkins —His book of poems, Nice Fish, is a play at the American Repertory Theater this winter.

69. Kevin Young —A Stenger Fellow who studied with Brock-Broido and Heaney at Harvard

70. Timothy Donnelly —His Cloud Corporation made a big splash.

71. Heather McHugh —Her 2007 BAP guest editor volume is one of the best.

72. D.A. Powell —Stephen Burt claims he is original and accessible to an extraordinary degree.

73. Eileen Myles —We met her on the now-defunct Blog Harriet Public Form.

74. Richard Howard —Pulitzer-winning essayist, critic, translator and poet

75. Robert Hass —U.S. Poet Laureate in the 90s, a translator of haiku and Milosz.

76. Rae Armantrout —Emily Dickinson of the Avant Garde?

77. Peter Gizzi —His Selected, In Defense of Nothing, came out last year.

78. Fanny Howe —Is it wrong to think everything is sacred? An avant-garde Catholic.

79. Robert Archambeau —His blog is Samizdat. Rhymes with Scarriet.

80. X.J. Kennedy —Keeping the spirit of Frost alive.

81. Robert PolitoPoetry man.

82. David Ferry —Classical poetry translator.

83. Mark Doty —A Chancellor of the Academy of American Poets.

84. Al Filreis  —Co-founder of PennSound

85. Frederick Seidel —Has been known to rhyme malevolence with benevolence.

86. Sherman Alexie —Is taught in high school. We wonder how many on this list are?

87. Marie Howe —Margaret Atwood selected her first book for a prize.

88. Carol Muske-Dukes —In recent Paris Review interview decried cutting and pasting of “Unoriginal Genius.”

89. Martha Ronk —In the American Hybrid anthology from Norton.

90. Juliana Spahr —Has a PhD from SUNY Buffalo. Hates “capitalism.”

91. Patricia Smith —Four-time winner of the National Poetry Slam.

92. Dean Young —His New & Selected, Bender, was published in 2012.

93. Jennifer Knox —Colloquial and brash.

94. Alicia Ostriker —“When I write a poem, I am crawling into the dark.”

95. Yusef Komunyakaa —Known for his Vietnam poems.

96. Stephen Dunn —His latest work is Lines of Defense: Poems.

97. Thomas Sayer Ellis —Poet and photographer.

98. Carolyn Forche —Lannan Chair in Poetry at Georgetown University.

99. Margaret Atwood —Poet, novelist, and environmental activist.

100. Forrest Gander —The Trace is his latest.

 

 

 

 

 

SCARRIET’S HOT 100— AS WE RING OUT A WILD 2014!

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Olé, Olena!  No. 4 on the Scarriet Hot 100

1. Claudia Rankine –Seems everyone wanted her to win the National Book Award

2. Louise Gluck –Won the National Book Award. Coming into focus as morbid lyricist

3. Dan Chiasson –Coveted reviewing perch in the glossy pages of the New Yorker

4. Olena K. Davis –Praised by #3 for “Do you know how many men would paykilldie/for me to suck their cock? fuck

5. Terrance Hayes –2014 Best American Poetry Editor for David Lehman’s annual series (since 1988)

6. Patricia Lockwood –Her book, Motherland Fatherland Homelandsexuals made NY Times most notable 2014 book list

7. Rita Dove What was all that fuss about her anthology, again?

8. Henri Cole —Poetry editor part of mass resignation at New Republic

9. Valerie Macon –appointed laureate of North Carolina, resigned due to firestorm because she lacked credentials

10. Helen Vendler –Contributing editor in TNR’s mass exodus

11. Glyn Maxwell –British poet and editor of The Poetry Of Derek Walcott 1948-2013

12. James Booth –author of Philip Larkin: Life, Art, and Love

13. Afaa Michael Weaver  –this spring won the Kingsley Tufts Award: $100,000 dollars

14. Frederick Seidel –Stirred outrage with a strange poem about Ferguson.

15. Clive James –Got into some controversy about racism and sex reviewing Booth’s book on Philip Larkin in the Times

16. William Logan –The honest reviewer is the best critic.

17. Ron Silliman –Elegy & Video-Cut-and-Paste Blog

18. John Ashbery –Perennial BAP poet

19. Cathy Park Hong –Wrote “Fuck the Avant-garde” before Brown/Garner protests: Hong says poetry avant-garde is racist.

20. Philip Nikolayev –Poet, translator, Fulcrum editor, currently touring India as beloved U.S. poetry guest

21. Marilyn Chin –Poet, translator, new book from Norton, currently touring Asia as beloved U.S. poetry guest

22. Daniel Borzutzky –Guest blogger on Poetry Foundation’s Blog Harriet: “We live in an occupied racist police state”

23. Ben Mazer –Brings out Collected Poems of John Crowe Ransom—as po-biz churns with racial indignation

24. Nathaniel Mackey –Headlined poetry reading at Miami Book Fair International.

25. Marjorie Perloff  —Now we get it: the avant-garde is conservative

26. Amy Berkowitz –Wrote on VIDA Web page how everyone has been raped and how we can be safe.

27. Yelena Gluzman –Ugly Duckling editor publishes vol. 3 of annual document of performance practice, Emergency Index

28. Carol Ann Duffy –British poet laureate gave riveting reading in Mass Poetry festival (Salem, MA) this spring

29. P.J. Harvey –Rocker to publish book of poems in 2015—Good luck.  Rock is easier.

30. Christian Nagler –poet in Adjunct Action: “SF Art Institute: faculty are 80% adjunct and have no say in the functioning of the institution”

31. Major Jackson –Wins $25,000 NEA grant.

32. Divya Victor –Her book, Things To Do With Your Mouth, wins CA Conrad’s Sexiest Poetry Award.

33. Kenny Goldsmith  —wears a two-million-ton crown

34. Donald Hall –new book, Essays After Eighty

35. Mary Oliver –new book, Blue Horses: Poems

36. Charles Wright –2015’s U.S. Poet Laureate

37. Stephen Burt –Harvard critic looking for funny stuff other than Flarf and Conceptualism.

38. Vijay Seshadri –2014 Pulitzer in Poetry

39. Ron Smith –The new poet laureate of the great state of Virginia!  North Carolina still waits…

40. Sherman Alexie –the first poet in BAP 2014. It used to be Ammons.

41. Erin Belieu  –Hilarious poem spoofing Seamus Heaney in her new book, Slant Six

42. Robert Pinsky  –has influence, authority and a lisp

43. Billy Collins –Becoming critically irrelevant?

44. Adam Kirsch –Senior Editor and poetry critic, also saying goodbye to TNR

45. Cornelius Eady  –co-founded Cave Canem.

46. Anne Carson –One of those poets one is supposed to like because they’re a little deeper than you…

47. Lucie Brock-Broido  –Emily Dickinson refuses to be channeled

48. Tony Hoagland  –still smarting from that tennis poem

49. Bob Hicok –He’s the new Phil Levine, maybe?

50. Yusef Komunyakaa –Won the Pulitzer Prize for Poetry in 1993

51. Eileen Myles –Just published a novel about her younger days

52. Sharon Olds  –still glowing from her 2013 Pulitzer win, the book showcasing her exploded marriage

53. D.A. Powell –Studied with Vendler at Harvard

54. Cate Marvin –In BAP 2014 and on fire with p.c indignation.

55. Dean Young  –wants to be the best poet ever—in a late 70s Iowa Workshop sort of way

56. Chris HughesTNR owner: “Despite what has been suggested, the vast majority of our staff remain…excited to build a sustainable and strong New Republic that can endure.”

57. Alan Cordle –changed poetry forever with his Foetry.com

58. George Bilgere  –patiently enduring the Collins comparisons

59. William Kulik –the ‘let it all hang out’ prose poem

60. Amy King –Northern Lesbo Elitist

61. Leah Finnegan –Wrote in Gawker of TNR: “White Men Wrong White Man Placed in Charge of White-Man Magazine.”

62. Jorie Graham –Get ready!  Her Collected is coming!

63. David Kirby –“The Kirb” teaches in Florida; a less controversial Hoagland?

64. Don Share –edits the little magazine that prints lousy poetry and has a perfunctory, cut-and-paste blog

65. Paul Lewis –BC prof leading Poe Revisionism movement

66. Robert Montes –His I Don’t Know Do You made NPR’s 2014 book list

67. Cameron Conaway –“beautifully realized and scientifically sound lyrics” which “calls attention to a disease that kills over 627,000 people a year” is how NPR describes Malaria, Poems 

68. Charles Bernstein –He won. Official Verse Culture is dead. (Now only those as smart as Bernstein read poetry)

69. Richard Howard –Did you know his prose poems have been set to music?

70. Harold Bloom  –He has much to say.

71. Camille Paglia  –Still trying to fuse politics and art; almost did it with Sexual Personae

72. Vanessa Place –This conceptualist recently participated in a panel.

73. Michael Bazzett  —You Must Remember This: Poems “a promising first book” says the New Criterion

74. Matthea HarveyIf the Tabloids Are True What Are You? recommended by Poets.Org

75. Peter Gizzi –His Selected Poems published in 2014

76. Mark Bibbins –Poets.Org likes his latest book of poems

77. Les Murray –New Selected Poems is out from FSG

78. Michael Robbins –writes for the Chicago Tribune

79. Stephen Dunn –The Billy Collins school—Lines of Defense is his latest book

80. Robin BeckerTiger Heron—latest book from this poet of the Mary Oliver school

81. Cathy Linh CheSplit is her debut collection; trauma in Vietnam and America

82. John Gallaher –Saw a need to publish Michael Benedikt’s Selected Poems

83. Jennifer Moxley  –Panelist at the Miami Book Fair International

84. Bob Dylan –Is he really going to win the Nobel Prize?

85. Ann Lauterbach  –Discusses her favorite photographs in the winter Paris Review

86. Fanny Howe –Read with Rankine at Miami Book Fair

87. Hannah Gamble –In December Poetry

88. Marianne BoruchCadaver, Speak is called a Poets.Org Standout Book

89. Anthony Madrid  –His new book is called I Am Your Slave Now Do What I Say

90. Robyn SchiffRevolver is not only a Beatles album.

91. Ted GreenwaldA Mammal of Style with Kit Robinson

92. Rachel ZuckerThe Pedestrians is out

93. Dorothea LaskyRome is her fourth book

94. Allan PetersonPrecarious is the new book: “the weed field had been/readying its many damp handkerchiefs/all along.”

95. Adrienne Raphel –“lavender first and by far”

96. Gillian ConoleyPeace is chosen as a Poets.Org Standout Book

97. Barbara Hamby  –“The Kirb” needs to know. She’s not on the list because of him.

98. Katia Kopovich –She coedits Fulcrum with husband Nikolayev.

99. Doc Luben –“14 lines from love letters or suicide notes” a slam poem viewed a lot on YouTube

100. Tracy K. Smith  2012 Pulitzer in Poetry for Life On Mars

IT’S TIME AGAIN FOR…POETRY’S HOT 100!!!!!

hot 100.jpg

1. Valerie Macon—Credentialing 1, Poetry 0

2. Patricia Lockwood—“Rape Joke” first viral-era poem to go viral?

3. Paul Lewis—Poe scholar brings Poe statue to Boston: The Jingle Man Returneth

4. Marjorie Perloff—Every era needs its Uber-Critic

5. Charles Wright—New Poet Laureate

6. Camille Paglia—Zeitgeist, Firebrand, Sexual Ethics, Gadfly.

7. James Franco—Can Hollywood make poetry cool again?

8. David LehmanBest American Poetry best anthology gathering-place.

9. Richard Blanco—interviewed in Vogue

10. Garrison Keillor—King of Quietism

11. Kenny Goldsmith—We understand some people take him seriously

12. Marilyn Chin—New book, Hard Love Province (Norton)

13. Amy King—Lesbians trying to take over the world!

14. Charles Bernstein—Papers going to Yale

15. Tao Lin—Alt-Lit unravels

16. William Logan—Every era needs the Kick ass Review

17. George Bilgere—Imperial is new; only poet who can out-Collins Collins.

18. Stephen Burt—Harvard’s frenzy of sweet political correctness.

19. Josh Baines—rips apart Alt-Lit on Vice.com

20. Don Share—Steering Poetry Foundation Mother Ship

21. Ron Silliman—Guiding Avant-garde ships through Quietism’s shallows

22. Ben Mazer—Neo-Romantic publishes Collected Ransom, the South’s T.S. Eliot

23. Frank Bidart—Punk Rock Robert Lowell

24. Paul Muldoon—Drives the New Yorker

25. Philip Nikolayev—Bringing back Fulcrum

26. Vanessa Place—Museum performer

27. Casey Rocheteau —Wins a home in Detroit for being a poet!

28. Natasha Trethewey—Bids farewell to the Laureateship

29. Billy Collins—Ashbery with meaning

30. Terrence Hayes—Wins MacArthur

31. Harold Bloom—Anxiety of Flatulence?

32. Mary Oliver—Nature poetry sells?

33. David OrrNew York Times Book Review column

34. Adam Kirsch-New Republic critic

35. Susan Wheeler—“narrative glamour” -John Ashbery

36. Andrew Motion—President of the Campaign to Protect Rural England

37. Khaled Matawa—2014 MacArthur Winner

38. Richard Howard—James Merrill lives!

39. John Ashbery—Old Man Obscurity.

40. Eileen Myles—“always hungry”

41. Mark Doty—Brother of Sharon Olds

42. Rae Armantrout—Silliman is a fan

43. Al Filreis—MOOCS!

44. Anne Carson—“inscrutable brilliance” –NY Times

45. Michael Robbins—The Second Sex (Penguin)

46. C.D. Wright—from the Ozarks

47. Lisa RobertsonChicago Review gave her a special issue

48. Claudia Rankine—Chancellor of the Academy of American Poets

49. CAConradPhilip Seymour Hoffman (were you high when you said this?) is his new book

50. Ariana Reines—“To be a memory to men”

51. Kim Adonizzio—“I want that red dress bad”

52. Frederick Seidel—Nominated for Pulitzer in Poetry

53. Kay Ryan—U.S. Poet Laureate 2008 to 2010

54. Edward HirschThe Living Fire, new and selected

55. Christian Wiman–ex-Poetry editor

56. Cornelius Eady—Nominated for a Pulitzer in Drama

57. Bin Ramke—Georgia Foetry Scandal

58. Jorie Graham—Collected Poems coming this winter

59. Erin Belieu—VIDA vision

60. Forrest Gander—anthropological

61. Amjad Nasser—run in w/Homeland Security

62. Ann Lauterbach—her poetry “goes straight to the elastic, infinite core of time” -John Ashbery

63. Rita Dove—editor, The Penguin Anthology of Twentieth Century American Poetry

64. Sharon Olds—Mark Doty’s sister

65.  Carol Ann Duffy—High powered, story-telling, Brit

66. Robert Archambeau—Rhyme is returning

67. Monica Handme and Nina, Alice James Books

68. Margo Berdeshersky—“understands how eros is a form of intelligence” -Sven Birkerts

69. Shelagh Patterson—“succeeds in forcing students to become critical thinkers” from Rate My Professors

70. Jennifer Bartlett—“this will all be over soon”

71. Lynne Thompson—“Vivaldi versus Jay-Z”

72. Allison Hedge Coke—Editor of Sing: Indigenous Poetry of the Americas

73. Dan Chiasson—Poet and critic who teaches at Wellesley

74. Martin Espada—Teaches poetry at Amherst

75. Gina Myers—“Love Poem To Someone I Do Not Love”

76. Jen Bervin—Poet and visual artist

77. Mary RuefleTrances of the Blast, latest book

78. Mary Hickman—“This is for Ida who doesn’t like poetry but likes this poem”

79. Catherine Wagner—professor of English at Miami University in Ohio

80. Victoria Chang—PEN winner

81. Matthew KlaneYes! Poetry & Performance Series

82. Adam Golaski-Film Forum Press

83. Mathea Harvey—Contributing editor at jubilat and BOMB

84. Amanda Ackerman—UNFO

85. James Tate—Yale Series of Younger Poets winner, 1967

86. Jenny BoullyThe Book of Beginnings and Endings

87. Joyelle McSweeney—professor at Notre Dame

88. William Kulik—the lively prose poem

89. Tamiko Beyer—Raised in Tokyo, lives in Cambridge, MA

90. Julia Bloch-–teaches creative writing at Penn

91. Brent Cunningham—co-founded Hooke Press

92. Richard Wilbur—Won Pulitzer Prize for Poetry in 1957 & 1989

93. Patrick James DunaganRumpus reviewer

94. Matthew Zapruder—Wave Editor

95. David Kirby—“The Kirb” teaches in Florida, uses humor in poetry

96. Alan Cordle—Foetry.com founder

97. Lyn HejinianThe Book of a Thousand Eyes

98. Cole Swensen—Translates from the French

99. Aaron Kunin—Teaches Milton at Pomona

100. Dana WardThis Can’t Be Life

HERE WE GO AGAIN: SCARRIET’S POETRY HOT 100!!

Dark Messy Tower

1. Mark Edmundson Current Lightning Rod of Outrage

2. David Lehman BAP Editor now TV star: PBS’ Jewish Broadway

3. Rita Dove She knows Dunbar is better than Oppen

4. Matthew Hollis Profoundly researched Edward Thomas bio

5. Paul Hoover Status quo post-modern anthologist, at Norton

6. Don Share Wins coveted Poetry magazine Editorship

7. Sharon Olds Gets her Pulitzer

8. Michael Robbins The smartest guy writing on contemporary poetry now–see Hoover review

9. Marjorie Perloff Still everyone’s favorite Take-No-Prisoners Dame Avant-Garde

10. Natasha Trethewey Another Round as Laureate

11. Ron Silliman The Avant-garde King

12. Tony Hoagland The Billy Collins of Controversy

13. Billy Collins The real Billy Collins

14. Kenneth Goldsmith Court Jester of Talked-About

15. Terrance Hayes The black man’s Black Man’s Poet?

16. William Logan Favorite Bitch Critic

17. Avis Shivani Second Favorite Bitch Critic

18. John Ashbery Distinguished and Sorrowful Loon

19. Stephen Burt P.C. Throne at Harvard

20. Robert Hass  West Coast Establishment Poet

21. Harold Bloom Reminds us ours is an Age of Criticism, not Poetry

22. Helen Vendler She, in the same stultifying manner, reminds us of this, too.

23. Dana Gioia  Sane and Optimistic Beacon?

24. Bill Knott An On-line Bulldog of Poignant Common Sense

25. Franz Wright Honest Common Sense with darker tones

26. Henry Gould Another Reasonable Poet’s Voice on the blogosphere

27. Anne Carson The female academic poet we are supposed to take seriously

28. Seth Abramson Will give you a thousand reasons why MFA Poetry is great

29. Ben Mazer Poet of the Poetry! poetry! More Poetry! School who is actually good

30. Larry Witham Author, Picasso and the Chess Player (2013), exposes Modern Art/Poetry cliques

31. Mary Oliver Sells, but under Critical assault

32. Annie Finch The new, smarter Mary Oliver?

33. Robert Pinsky Consensus seems to be he had the best run as Poet Laureate

34. Mark McGurl His book, The Program Era, has quietly had an impact

35. Seamus Heaney Yeats in a minor key

36. W.S. Merwin Against Oil Spills but Ink Spill his writing method

37. George Bilgere Do we need another Billy Collins?

38. Cate Marvin VIDA will change nothing

39. Philip Nikolayev Best living translator?

40. Garrison Keillor As mainstream poetry lover, he deserves credit

41. Frank Bidart Poetry as LIFE RUBBED RAW

42. Jorie Graham The more striving to be relevant, the more she seems to fade

43. Alan Cordle Strange, how this librarian changed poetry with Foetry.com

44. Janet Holmes Ahsahta editor and MFA prof works the po-biz system like no one else

45. Paul Muldoon How easy it is to become a parody of oneself!

46. Cole Swensen Some theories always seem to be missing something

47. Matthew Dickman Was reviewed by William Logan. And lived

48. James Tate For some reason it depressed us to learn he was not a laugh riot in person.

49. Geoffrey Hill His poetry is more important than you are

50. Derek Walcott A great poet, but great poets don’t exist anymore

51. Charles Bernstein A bad poet, but bad poets don’t exist anymore, either

52. Kay Ryan Emily Dickinson she’s not. Maybe Marianne Moore when she’s slightly boring?

53. Laura Kasischke She’s published 8 novels. One became a movie starring Uma Thurman. Who the hell does she think she is?

54. Louise Gluck X-Acto!

55. Rae Armantrout “Quick, before you die, describe the exact shade of this hotel carpet.”

56. Heather McHugh “A coward and a coda share a word.”

57. D.A. Powell “Of course a child. What else might you have lost.”

58. Peter Gizzi Take your lyric and heave

59. Marilyn Chin Shy Iowa student went on to write an iconic 20th century poem: How I Got That Name

60. Eileen Myles Interprets Perloff’s avant-gardism as mourning

61. Lyn Hejinian As I sd to my friend, because I am always blah blah blah

62. Nikki Finney Civil Rights is always hot

63. K. Silem Mohammad This Flarfist Poet composes purely Anagram versions of Shakespeare’s Sonnets. Fie on it.

64. Meg Kearney Lectured in public by Franz Wright. Still standing.

65. Noah Eli Gordon Teaches at Boulder, published by Ahsahta

66. Peter Campion A poet, a critic and a scholar!

67. Simon Ortiz Second wave of the Native American Renaissance

68. Maya Angelou She continues to travel the world

69. Lyn Lifshin “Barbie watches TV alone, naked” For real?

70. Ange Mlinko Born in ’69 in Philly, writes for The Nation

71. Jim Behrle They also serve who only write bad poetry

72. Elizabeth Alexander She read in front of all those people

73. Dorothea Lasky The Witchy Romantic School

74. Virgina Bell The poet. Do not confuse with burlesque dancer

75. Fanny Howe Wreaks havoc out of Boston

76. Erin Belieu Available for VIDA interviews

77. Ariana Reines Another member of the witchy romantic school

78. Jed Rasula Old Left poetry critic

79. John Hennessy “Too bad I felt confined by public space/despite her kinky talk, black net and lace”

80. Timothy Donnelly “Driver, please. Let’s slow things down. I can’t endure/the speed you favor, here where the air’s electric”

81. Clive James His translation, in quatrains, of Dante’s Divine Comedy, published this year

82. Danielle Pafunda “We didn’t go anywhere, we went wrong/in our own backyard. We didn’t have a yard,/but we went wrong in the bedroom”

83. Michael Dickman Matthew is better, right?

84. Kit Robinson “Get it first/but first get it right/in the same way it was”

85. Dan Beachy Quick “My wife found the key I hid beneath the fern./My pens she did not touch. She did not touch/The hundred pages I left blank to fill other days”

86. Ilya Kaminsky Teaches at San Diego State, won Yinchuan International Poetry Prize

87. Robert Archambeau Son of a potter, this blog-present poet and critic protested Billy Collins’ appointment to the Poet Laureateship

88. Kent Johnson Best known as a translator

89. Frederick Seidel An extroverted Philip Larkin?

90. David Orr Poetry columnist for New York Times wrote on Foetry.com

91. Richard Wilbur Oldest Rhymer and Moliere translator

92. Kevin Young Finalist in Criticism for National Book Critics Circle

93. Carolyn Forche Human rights activist born in 1950

94. Carol Muske Dukes Former California Laureate writes about poetry for LA Times

95. William Kulik Writes paragraph poems for the masses

96. Daniel Nester The sad awakening of the MFA student to the bullshit

97. Alexandra Petri Began 2013 by calling poetry “obsolete” in Wash Post

98. John Deming Poet, told Petri, “We teach your kids.”

99. C. Dale Young “Medical students then, we had yet to learn/when we could or could not cure”

100. Clayton Eshleman Sometimes the avant-garde is just boring

CHRISTIAN WIMAN OPENS THE DOOR TO CRAZY

Christian Wiman, editor of Poetry magazine, 2003-2012 and the recent Poetry anthology, The Open Door: 100 Poems, 100 Years of Poetry Magazine

How do you respond to someone who goes on using old terms to describe what they keep insisting is new?

This is the dilemma of those who must listen to the endless drone of the curators and defenders and benefactors of modern poetry, or contemporary poetry, as it’s sometimes called; it’s no surprise this drone would manifest itself most painfully in a celebration of 100 years of Poetry magazine, specifically in Christian Wiman’s introduction to The Open Door: 100 Poems, 100 Years of Poetry Magazine.

Wiman’s The Open Door introduction is ostentatiously entitled, “Mastery and Mystery.”

The mastery is a mystery—this is what we think Mr. Wiman means.

Wiman is one of these—fans—of poetry (in the abstract, of course) who love everything about it, so things like critical faculty, discernment, and judgment, are mere annoyances that get in the way of the joyfully universal hippie consciousness kissing every divine modern word, kissing every divine modern line-break.

Wiman is habituated, like so many of his ilk, to prate on and on about “craft” in a wholesomely earnest manner, in which craft designates not skillful arrangement, but any arrangement, which he, Wiman, for no reason which can be discerned, finds deeply meritorious.  What do you say to the person, who, reclining in some well-made chair, points to a heap of sticks, declaring the pile to be an excellent example of “craft?”

“Craft matters because life matters,” Wiman intones—and of course it does, because a loose pile of sticks matters—as all things matter, and who would deny this?  Certainly not Wiman.

The lovely assertion—“Craft matters because life matters”—is all the critical mountebank needs, but Wiman will not let the windmill get away quite so easily, for he adds,

Craftless poetry is not only as perishable as the daily paper, it’s meretricious, disrespectful (of its subjects as well as its readers) and sometimes, as Pound implies, even unethical.

“Craftless poetry…is unethical,” (!!) and who better to “imply” this than the highly ethical, ‘pile-of-sticks-author’ himself, Ezra Pound?

But what, according to Wiman,  is “craftless poetry,” anyway?

Did you really expect Wiman to tell us?  He mentions Pound, and that’s all he needs to do.  The in-the-know-modernist sagely nods, and Wiman immediately changes the subject, diving into another modernist topic.

The difficulty of modern poetry—that is, poetry written since Modernism—is taken by most people as a given.

Ah, having quickly covered the “craft” issue, we now get the old canard about the “difficulty of modern poetry,” as if Shakespeare, for instance, is not “difficult,” and as if “difficult” (which can easily be translated into ‘poorly written’) means anything substantial at all.

Following his brief and sage observation that Edna Millay is not “difficult,”  Wiman falls down in utter worship of a poet who is, Basil “Crushed Grit” Bunting, in a manner that would make even Shakespeare blush:

Briggflatts is a palimpsest of history, nature, learning, loss. It is the testament and artifact of a man who has lived so thoroughly through the language, that is has become a purely expressive medium. Because of cadence and pacing, and the way sounds echo and intensify sense, the word is restored to a kind of primal relation with the world; language itself takes on the textures and heft of things:

Under sacks on the stone
two children lie,
hear the horse stale,
the mansion whistle,
harness mutter to shaft,
felloe to axle squeak,
rut thud the rim,
crushed grit.

Let’s be placid and factual for a moment: Crossword puzzles are random words that fit into a whole—a rather superficial use of craft—what Bunting does (hyped by the excitable Wiman) is select random words of similar sound and meaning (“horse” and “harness”) and put them into a heap.

We might admire Bunting’s list of words, (requiring a dictionary and a bit of free time,) but we must point out that the craft of making a crossword puzzle involves fitting words into a whole—but the Bunting excerpt is, in fact, “craftless,” since beyond the similarity of the words themselves (in Bunting’s list) no definitive whole is acheived; all we get, if we speak as an honest critic, is a vague depiction of a blurry,  impressionistic scene, which is naturally what we would expect if any such list were presented loosely to us.

The Bunting excerpt is (try it) as good read backwards—just as we can do a crossword puzzle in any order we choose.

The Bunting passage has less craft than what is acheived by the author of the crossword puzzle.

Yet Wiman explicitly states that Bunting of “crushed grit” is a great advance (!!) (“the word is restored,” “language itself takes on…the heft of things”) of a wondrous kind—an interesting thesis.

Next, Wiman completely misses the meaning of a Denise Levertov passage as he purports to give us “a little master class in free verse,” in which

Our bodies, still young under
the engraved anxiety of our
faces

is for Wiman all about the line-break after “under” because

it is one thing to say that a body is “still young,” quite another to say that it is “still young under.” The latter implies a history, a density of feeling and experience, whereas the former is simply a statement of fact.

First, despite the feverish belief in the importance of the line-break, we must point out that Levertov never says, “still young”—she says, “still young under.”  In the split-second it takes to read “still young under,” it is impossible not to read Levertov’s line as “still young under,” line-break or not.

Second, Wiman misreads Levertov’s simple meaning.  Wiman informs us that:

The mind naturally wants to read these lines like this:

Our bodies, still young
under the engraved anxiety
of our faces…

But this completely changes the meaning and effect of the lines. It is one thing to say that a body is “still young” quite another to say that it is “still young under.” The latter implies a history, a density of feeling and experience, whereas the former is simply a statement of fact.

We are not sure what all this “history” and “density of feeling and experience” is that Wiman gratuitously mentions; Levertov is stating an anatomical fact: faces show outward signs of age (wrinkles, and so forth, the “engraved anxiety of our faces”) before bodies do; it’s common knowledge for the body in middle age to remain smooth and young-looking while the face begins to look “engraved.”  The “under” Wiman wants to load with all sorts of significance, merely refers to to one’s body “under” the engraved face. Wiman’s ‘insight’ is nothing but error.

This is where line-break-ism leads: rant.  Wiman, winds up his “triumphant” reading of Levertov’s lines with this:

The point here is not to go through every poem nitpicking technique, trying to find some obvious “reason” for every formal decision. Rather, the point is simply to be aware that what may seem like awkwardness or even randomness (James Schuyler!) can be as formally severe and singular as any Bach fugue.

The folly here is laughable in the extreme: we move, with Wiman, from a silly misreading into the majesty of a Bach fugue.

Wiman, now half-way through his introduction, swells with pride at his own poetry-reading skill, which causes him to embrace the essence of life itself:

One of the qualities to being good at reading poetry is also one of the qualities essential to being good at life…

Wiman continues in this vein: Poetry! Life! 

Poetry…”gives us access to a new world and new experience” and also “enlivens the lives we thought we knew.”

Hyperbole joins hyperbole, as only the advocate of modern poetry can bring it.

“Why write poetry?” asks Wiman, why “keep a journal?”  Because “language is a living thing” and deserves “our fullest and most costly consciousness, only our whole selves honed by emotional extremity.”

Wiman then warns against “vanity” in poetry as we might find it in the “bloviating laueate” or the “open-mike” poet in the “local bar,” saying poetry, even when it’s anti-religious, is the force that invented religion in the first place, and we must feel poetry in our “blood,” in the “marriage of word and world.”

We also need to understand that “the lyric” is not only “inward,” as Wiman points out  for us that Thom Gunn, with “his heroic height” and “his motorcycle boots” had “little patience for Romantic effluvia” as he “wanted to obliterate personality in his poetry.”

Wiman blows us away with another flashing insight: a “writer who grows up in a bookless culture” will “always be torn by conflicting impulses.”

More wisdom: “Every poem in this book is situated somewhere on this spectrum between life and learning, between linguistic powers honed to surgical precisions and the messy living reality out of which all language…”

For all the canons and anthologies, for every rock-solid reputation and critical consensus, poetry is personal or it is nothing.

As far we can tell, Wiman has convinced everyone—but himself—that “it is nothing.”

Precisely because he has declared it to be everything.

Poetry, according to Wiman, brings that “face-off between spiritual integrity and social insecurity.”

If only Wiman were a bit more “insecure” regarding “spiritual integrity”—and everything else.

Finally, Wiman tells us that he and his co-editor, Don Share, feel “humility” and “pride” in the job they’ve done.

At least he’s feeling humble.

Do we expect too much from a perfunctory introduction to a book containing 100 poems in 100 years of Poetry?

Of course we do.

But at that same time, the thought on display in any poetry anthology introduction should not be taken lightly.  Mountain-top pronouncements no longer exist in poetry.  We should be harsh with every whisper, every small notion, every part.  If we find no fault with the brick, we cannot criticize the house.

Criticism today must be micro, as well as honest, and Wiman, who made Poetry better as an editor by adding controversial prose, will no doubt understand Scarriet’s purpose.

It is not our fault that the Modernist is the dullest creature on the face of the earth, both emotionally flat and inane.

Whatever poetry does to us with its awkward spell, it finally does to us in a manner of which we have little or no cognizance; how important, then, is the Maid, Reason, who protects us from ravenous incomprehensibility; Modernism, however, with its notoriously unfriendly prose style (Whitman, Pound, Jarrell) is no nurse speaking with sweetness and clarity at our feverish bedside. Wiman, like all the other Modernists, is excitable, and lacks simple common sense.

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…

TROUBLE AT THE POETRY FOUNDATION

Take a bunch of prickly, under-read poets who run a little magazine called Poetry and give them a hundred million dollars.

What do they do?

They change their name from Poetry to Poetry Foundation.

They hire accountants and lawyers.

They fashion a website, and after a trial, block comments, leaving a blog site of newsy poetry links, in the spirit of: Can you believe it? The New York Times mentioned a poem yesterday!

The blog site also features a twitter feed: random poet friends of the Foundation taking turns twittering to the world.

But no comments.  The public is not really allowed.

They build a twentyone million dollar building in the middle of Chicago, and for its opening party, they arrest a protestor.

After the arrest, there’s another protest in the building, including a large banner asking how Prozac would have influenced Emily Dickinson:

http://www.youtube.com/watch?v=SsotfygDk-c&feature=mfu_in_order&list=UL

The millions given to Poetry was a private donation—but it came from Big Pharma, the Lilly drug company that’s responsible for Prozac.

A pity the millions were not made from poetry, so poetry could have donated to itself, with Poetry the beneficiary.  But alas, the Poetry Foundation suffers from a classic Alienated Split: the meaty millions are concentrated in pill-form, and not scattered on the invisible wings of poesy.

None of this is big news.  Today, a banker sneezes and millions are moved about.  If a poetry magazine got lucky, why should we begrudge it?

On the other hand, why shouldn’t we question how a private fortune is dispersed in the name of a  public good?  The Poetry Foundation would be the first to defend poetry as a public good, and this worthy claim makes it vulnerable to questions of worth; perhaps not in the form of “pranks,” but don’t the “pranksters” have legitimate concerns, and don’t they warrant a hearing?  Is calling the cops on a (mild) prank the proper response of an institution ostensibly in existence because of public good?

What annoys us most about the Poetry Foundation is its thin skin, demonstrated when our mum, Blog Harriet, shut conversation down, setting in motion Scarriet’s genesis.  Poets, even with their feigning, are supposed to deal in truth, and how can thin skin exist with truth?

Scarriet would, with Plato, question poetry’s automatic status as a public good, thus deepening the whole issue; but how thin the skin gets, whenever automatic becomes the norm.

The art of poetry, since falling into its present existence as a deconstructed, free-floating public good, is free to be anything it wants to be, and now borders on being nothing at all, blandly and pedagogically filling a kind of gabby, social prozac, niche—look in the pages of Poetry—and, until it is absolutely nothing, the art of poetry will seek that freedom (having tasted for so long freedom as a self-reflexive good) which naturally leads it to that state which is nothing; indeed, for almost 100 years, being a free-floating nothing has almost been its (rebel) creed.

The art suffers from this counter-intuitive spin: with the loosening of poetry’s formal attributes, we see the bodily tightening of poets’ nerves.  Rather than resort to a good-natured, witty rebuke, poets tend to run and hide.

A friend on the grapevine wrote me:

Another interesting element to this is what the poster called ‘Don Sharey’ commenting on the Chicago Reader article  http://www.chicagoreader.com/gyrobase/poetry-foundation-clamps-down-on-activists/Content?oid=4844017&sort=desc&show=comments – writes

You only have to read Don Share’s recent poetry on his blog to understand how irrelevant the ethos of this organisation is. Tedious in the extreme.

Earth totters,
lifts up its horn to the heavens
while its inhabitants grow yet
rich and poor together
and speak with insolent neck.

Share has on his blog a blurb praising his ‘earnest’ poetry. An irony-free zone.

Corporate poetry

~

On Share’s blog now, the two recent blogposts of his that consisted of poems he wrote ‘in response to recent (world) events’, have been taken down so there’s no trace of the writing Don Sharey refers to.

Also the blurb commending Share’s poetry for being ‘earnest’ has also disappeared from the sidebar. This proves Share is not only closely following comments on the Chicago Reader about this hoo ha, but also he has a very thin and fragile critical skin when it comes to anonymous people commenting on his poetry.

Since Share is scared, Sharey gets the last word.

A hundred million should at least get you that.

DON SHARE OF POETRY CLAIMS NOVELIST THREATENED HIM

Don+Ocean+Cropped

Don Share: How important is the middle man?

There it is, that terrifying anecdote, right at the beginning of the recent, much-reprinted Chicago Tribune spread piece on the recently Ruth Lilly-enriched Poetry magazine:

Poetry makes nothing happen.
So said W.H. Auden. Who never lived in Chicago. Or knew Don Share. Share is the senior editor of Poetry magazine, the venerable Chicago-based literary institution. It turns 100 next year, and has seen far more than nothing happen, particularly in the past decade. Share arrived at the magazine four years ago, hired away from Harvard University, where he was poetry editor of Harvard Review. Soon after arriving, he received what he calls a “threatening  phone call.”
It came from a famous novelist whose name he won’t say, but the message to Share was this: You really don’t want to find yourself alone in the same room with me. “He couldn’t believe we rejected his poems,” Share said of the man. “When you work in poetry all day, it’s internal. People get shaken. I was shaken.”

This is a remarkable story—if true: a “famous novelist” feeling the need to threaten Don Share for not publishing his (the “famous novelist’s”) poems in a wee magazine?   Every prestigious magazine publishes “famous” authors—that’s why they’re prestigious magazines.  It’s hard to believe the “famous novelist” felt so terribly left out.  The refusal to publish someone in Poetry magazine simply does not hold enough weight to generate anything but trivial ill-temper; it strains credulity to think Don Share was genuinely “shaken.”  Was Share afraid of getting beaten up by John Updike?  Or whomever it might have been?

But far beyond these vicissitudes lies the chief oddity: Poetry magazine has a well-funded on-line presence, Harriet: The Blog, which allowed the public to talk on-line—until the editors at Poetry stopped that practice dead-in-the-water over a year ago.

Don Share used to joyfully take part in the Harriet public conversations—though once he sulked at a literary comment I made.

But here’s the point: that “famous  novelist” four years ago could have posted his poem right on Harriet, and readers could have made up their own minds on the spot.  Readers could have read the “famous novelist’s” poem and made public their praise, or displeasure.

Poems and debates about poems once could make a public appearance on Harriet, though Harriet moderators (and some of the readers, as well) were always testy about “staying on topic;” for some reason intelligent people adlibbing, digressing, and simply expressing themselves on the spur of the moment, was “threatening” to some—and certainly to the Harriet editors.

Why?  Because editors want that wall between them and their readers.  They want Poetry to be a magazine of their choices.

The process is: poet writes poem, reader reads poem.

Poetry magazine wants to decide which poems the reader gets to read.

But today, who needs this filter?

The editor, obviously, who wants the prestige—the middle man’s feather-in-the-cap.

I can decide whether you get published in Poetry magazine, or not.

Well! Good for you!

This is why, when Harriet: The Blog was a public blog,  there was always an uneasy feeling about it, why the moderator/editors were always full of anxiety: because editors don’t like it when the wall dissolves and  prestige (that intangible thing) crumbles.

Poetry magazine, then, is nothing more than the poems which some particular person (Don Share, or Christian Wiman) happens to have picked out.  This is its prestige.  This is where its prestige begins and ends, with the tastes and prejudices and minds of certain gentlemen who are good poets themselves—or not.  We have nothing against Share or Wiman’s taste, necessarily.  We’re just putting things in perspective.

The credulous fall into vapid worship of empty prestige.  The Tribune article, for instance, goes on to say:

Poetry magazine started in Chicago in 1912, and during the ensuing century, the magazine’s history and the history of American poetry were joined at the hip. It published an unknown T.S. Eliot, gave early support to Langston Hughes, discovered Wallace Stevens, James Merrill, Gwendolyn Brooks.

This is nothing but banal untruth: Ezra Pound discovered Eliot, not Poetry. Pound published, as Poetry’s London editor, Eliot’s undergraduate poem, “Prufrock.”  “The Waste Land,” however, was published in The Dial.  Eliot’s prep school friend, Scofield Thayer ran that magazine; Pound worked out a “Waste Land” deal with the lawyer, John Quinn, promising Eliot the 1922 Dial Prize—worth a thousand dollars, equal to Eliot’s yearly salary at Lloyd’s—before Pound had even finished the edits on the poem.  Poetry, a little magazine with a small readership, could not possibly compete with Pound’s well-connected PR machine, which put Eliot on the map.  Langston Hughes, first published by the NAACP, and made famous by anti-U.S. trips to the Soviet Union, and his politics, did not require any “support” from Poetry to further his career, and similarly, Wallace Stevens, who studied with Santayana and William James at Harvard, and was part of Yvor Winters and Hart Crane’s 1920s Pound/Eliot/Tate circle, did not require any “discovering” by Poetry, which happened to publish a few of his poems—on behalf of Stevens’ own connections.  The Egoist, The Dial, Ford’s Transatlantic Review,  The Little Review, The Nation, and finally, Ransom’s Kenyon Review, which appeared in 1939—there were many alternatives to the modest Poetry, in the 20th century.  With the dawn of the Writing Program era in the 1940s, there were thousands of small journals publishing poetry. Poetry was simply one of many.  Careers were not made by Poetry magazine. Not to mention that  poets like Edna Millay and Frost sold books—they hardly needed magazines.

Poetry has longevity, true.

But now that Poetry has money, must we feel obligated to inflate its importance in history?

Isn’t that the last thing the art of poetry needs right now?  Vacuous, historically ignorant, puffing?

SCARRIET LEARNS OF JORIE GRAHAM BAP MARCH MADNESS PETITION

Scarriet has learned of a petition protesting Jorie Graham’s Best American Poetry tournament position as a 16th seed, saying the Harvard Humanities Chair professor and Pulitzer-prize winning poet ought to be a top-seeded choice in the 2010 March Madness competition.

The petition is signed by Seamus Heaney, Helen Vendler, Harold Bloom, Robert Pinsky, John Ashbery, Peter Sacks, James Galvin,  James Wright, Marvin Bell, Joshua Clover, Bin Ramke, Don Share, Joan Houlihan, Brad Pitt, Michele Glazer, Joanna Klink, and Mark Levine, earning tens of thousands of Poetry MFA student signatures across the land.

The Best American Poetry March Madness Committee released a brief statement in response:  “We have not officially released the 2010 brackets.  When released, our choices are final.”

HARRIET at the MARRIOTT


_____________________________________________________

Dear Friends of Scarriet,………………………………………….November 25th, 2009

Just to remind you on the eve of Thanksgiving that we the undersigned were banned from Blog:Harriet three months ago for writing too much and too passionately about poetry. Yes, and on the very same day that we found, not by direct communication but by trial and error,  that we were no longer welcome on Harriet, Travis Nichols welcomed Amber Tamblyn as the new generation Contributing Writer.

As a preliminary to our big THANKSGIVING POST (coming up next!), we offer this as a sample of the commentary Travis had in mind for the new Harriet. Can’t say we wish we weren’t there, but then we’re very glad so many of you have decided to be here with us on Scarriet instead.

(Sort of comes down to Mt.Parnassus or the Marriott. But let’s be clear about that too — it’s not that the Marriott ought to be shut out from the Poetry Foundation’s goal to “foster and cultivate an open community” (see the P.F. Guidelines just above), but neither should Parnassus!)

Thomas Brady
Alan Cordle
Desmond Swords
Christopher Woodman

TRAVIS NICHOLS, POETRY GLADIATOR

Travis BUS

TRAVIS Saturated_________________

Just as Thomas Brady was breathing new life into Blog:Harriet, and even being considered as a potential Contributing Writer by the Board, Harriet’s editor, Travis Nichols, published this article in Poets & Writers [click here to read the rest of the article].

Little could anyone have imagined how literally Travis Nichols envisioned himself as that “poetry gladiator fighting to the death” for his ideals, or how ruthlessly he would strike down those who did not share his vision of poetry on Blog:Harriet. It was certainly a shock to Thomas Brady, Desmond Swords, and Christopher Woodman when virtually out of nowhere a poster named ‘Nick’ popped up on Joel Brouwer’s “Keep the Spot Sore” thread to slam what he felt were people doing bad things on Blog:Harriet:

There are certain sorts of people–I will not indulge in sociological generalities about them, except to say that they are virtually always men–whose thirst for online bloodshed cannot be quenched. Such people ruined the Buffalo poetics list; ruined Silliman’s blog; etc……Michael, I imagine, knows the story. Good places for online discussion are few, and fragile. I’m out, as they say when leaving other forums/
POSTED BY: NICK ON JULY 7, 2009 AT 6:32 PM

Every blog and forum has such malcontents, but what was so different about this intrusion was that the Editor himself, Travis Nichols, actually welcomed the mole and his bile, and even went further in trashing those “certain sorts of people” — an obvious reference to Thomas Brady, Desmond Swords and Christopher Woodman (who has been known as “Cowpatty Hammer” ever since!). Indeed, Travis replied like this:

Hey Nick, I definitely hear you, but I don’t think there’s a formal solution to the problem you’re presenting. We have a couple different formatting changes in the works that I think will help people skip past commentary they have a stated distaste for, but beyond that the only way the discussion becomes valuable for people is if they participate in it. It’s a big responsibility in a lot of ways, and I completely understand using your time for other things, but I, for one, would greatly appreciate you hanging around and offering up your two cents from time to time. It can get a bit cult-like in here (let’s go ahead and talk about it like a room; it feels that way sometimes, like when you’re in a room just trying to read or write down a thought or enjoy a meal and some guy at the next table is going on and on and ON (sheesh!) about his medical experiences or his politics or how he totally almost scored on his last date, and it’s all you can do to not start yelling or making some kind of gag out of napkins and notepads and endpapers or just thinking the world is a terrible no good very bad place full of asshats and douchebags (as they say) . . . but, you know, really it’s not like that. All the time. Is it? Maybe it is. But it doesn’t have to be.), and simple one or two sentence sober thoughts can cut through the funk very nicely. As you have done upthread, I think. So a plea for you–and for others reading and thinking of chiming in but holding back for fear of the cow patty hammer or whatever: don’t leave. Your presence will help make things better. Promise. Maybe we can come up with a rewards system. Free candy for pithy on-point commentary! -Travis PS: Clearly, no candy for me this round.
POSTED BY: TRAVIS NICHOLS  ON JULY 8, 2009 AT 9:00 AM

Thomas Brady wrote a critique of this post on the recent thread called  “Harriet Sees Nothing on Harriet” which casts so much light on Blog:Harriet and the mindset of its “Poetry Gladiator” Editor, Travis Nichols, we decided to elevate it to an actual post. So here goes:

~

Nick writes, “there are certain sorts of people…”  certain sorts of people…?? And then Nick tars ‘certain sorts of people’ with his brush, and then announces he’s leaving in a huff… Travis responds:

Hey Nick,

Hey Nick –note the familiar tone…Hey Nick…

I definitely hear you, but I don’t think there’s a formal solution to the problem you’re presenting.

I definitely hear you… in other words I completely ascribe to your ‘certain sorts of people’ tone of bitchiness and disrespect…  but I don’t think there’s a formal solution… Immediately Travis jumps from the bitchy complaint to…oh how can we come up with a solution to make things better for Nick?

Why does Travis have to jump when Nick says jump? How does Nick suddenly become the authority here?

We have a couple different formatting changes in the works that I think will help people skip past commentary they have a stated distaste for, but beyond that the only way the discussion becomes valuable for people is if they participate in it.

And now Travis slips in something that’s actually an intelligent and proper response to Nick (the angry and the deluded)  “THE ONLY WAY THE DISCUSSION BECOMES VALUABLE FOR PEOPLE IS IF THEY PARTICIPATE IN IT.” Bravo, Travis! But where did that come from? If only this had been Travis’ sole reply, the world might be different…

HEY NICK, THE ONLY WAY THE DISCUSSION BECOMES VALUABLE FOR PEOPLE IS IF THEY PARTICPATE IN IT.

But alas, Travis did not respond thusly, and, to please Nick, launched into the following:

It’s a big responsibility in a lot of ways, and I completely understand using your time for other things, but I, for one, would greatly appreciate you hanging around and offering up your two cents from time to time. It can get a bit cult-like in here (let’s go ahead and talk about it like a room; it feels that way sometimes, like when you’re in a room just trying to read or write down a thought or enjoy a meal and some guy at the next table is going on and on and ON (sheesh!) about his medical experiences or his politics or how he totally almost scored on his last date, and it’s all you can do to not start yelling or making some kind of gag out of napkins and notepads and endpapers or just thinking the world is a terrible no good very bad place full of asshats and douchebags (as they say) . . . but, you know, really it’s not like that. All the time. Is it? Maybe it is. But it doesn’t have to be.), and simple one or two sentence sober thoughts can cut through the funk very nicely. As you have done upthread, I think.

Now Travis makes this weird analogyposting on a blog is compared to sitting in a restaurant and TRYING TO READ while a conversation is going on at the next table…

Huh????

Oh…so Nick WAS TRYING TO READ…and Christopher, you and I were TALKING…so he couldn’t READ… LOL

So a plea for you–and for others reading and thinking of chiming in but holding back for fear of the cow patty hammer or whatever: don’t leave.

“Holding back for fear of the cow patty hammer…?” Yea…it’s called a METAPHOR, Travis…why would someone FEAR that? What’s to fear in another’s words and opinions? [Click here for some background on that metaphor.]

ANY discussion on the web offers the SAME THREE RESPONSES, cow patty hammer or not, Travis. You 1.) agree, you 2.) disagree, or you 3.) ignore comment X, –or some combination thereof. That’s it! Simple! You can ALWAYS do this–unless you are censored.

These are ALWAYS the choices, whether Christopher Woodman and Thomas Brady are part of the discussion, or not. Travis? Nick? You know this, don’t you?

Let me say it once more. In ANY discussion, you only have 3 choices: Agree, disagree, ignore. These are ALWAYS the choices–no matter who you are having a discussion with. It doesn’t matter if Woodman or Brady are in the discussion, or not. These are the 3 choices one ALWAYS has.

Your presence will help make things better. Promise. Maybe we can come up with a rewards system. Free candy for pithy on-point commentary!
-Travis

Christopher, I think Travis owes us a lot of candy.

Tom

“HARRIET SEES NOTHING ON HARRIET!” An Open Letter.

Here’s looking at you, Don Share — “politically, personally, and poetically!”
_________________

w
“To grasp the essence of what our species has been and still is: this is at once political, personal… and poetical.”

Dear Don Share,
I had good times with you for the whole month of June on Blog:Harriet, particularly right at the end of Martin Earl’s wonderful thread, The Fish II,  when we talked big fish! [click here] More than that, I also enjoyed a private correspondence with you behind the scenes even after I got put on “moderation”  — as I’m sure you all know, my posts on Harriet were monitored for almost 2 months, occasioning long and painful delays, and over 20 were summarily deleted. [For some details on that 1.)  click here, 2.) click here, 3.) click here, 4.) click here, and 5.) click here. And for a fuller summary elsewhere, click here and click here.]

But just to be sure there’s no suggestion of impropriety behind these revelations, Don, let me be very clear that you never compromised your position at the Foundation. You never said a word about colleagues, or the chain of command, or policy, or gave me any hope that you would intervene on my behalf– yes, you were very free with me, open and interested, but never for a second did you let your professional mask slip. You weren’t involved in any way in the management of Blog:Harriet, you insisted, and even sought my help to get Alan Cordle to remove a paragraph from his Bluehole blog that held you partly responsible for what had happened [click here] — which Alan did, and with good grace. And I was very proud of that too, because I know we are like that, always willing to admit a mistake and do something about it.

Indeed, a lot of good things happened in those early exchanges. Michael Robbins came in on Alan’s blog too, for example, and bitterly protested our interpretation of his involvement, and we responded immediately to that as well, and not only apologized to him but praised him for his openness and courage. [click here] Indeed, that moment with Michael Robbins was one of the most positive moments of our whole protest, and we are still very grateful to him for that as well as for his decision to distance himslf from Blog:Harriet — not in solidarity with us at all but because he felt badly about what the atmosphere at Harriet had done to him personally. Because, of course, it brought the worst out of everybody!

EYE Don ShareBut you did nothing whatsoever, Don Share — almost as if you didn’t see anything happening. And here you are today writing all this wise and well-informed poetry stuff about deep human issues, who we poets are, what matters, what poetry can accomplish, what art,  what passion, however foolish, what the spirit can achieve [click here], yet you didn’t engage yourself at all when you were face to face with the REAL THING — a real poetry massacre! Because we were deeply involved in these very same issues in July and August, of course,  but on a much, much deeper, more meaningful, and more tangible level than on Harriet today. And then on September 1st we had the plug pulled on us,  and we were all summarily executed. Yes, and you were right there and said nothing.

And look what’s left on Blog:Harriet today? Just look at the response to your sensitive and exceptionally well-written new article, for example? [click here] A dry board-room discussion of the niceties of copyright law combined with some fawning, some clichés, and some banter. Before you were face to face with the real censorship of actual living American poets, ones who weren’t hiding behind anything at all, and were therefore extremely vulnerable. And you watched the axe fall on them, and you did nothing whatever!

That photo above is of me in Brooklyn, New York when I was Head of the English Department at The Brooklyn Polytechnic Preparatory School in Bayridge in the 80s. A lot of my students were from John Travolta’s neighborhood too, and they loved it because I taught poetry in a fever as if it were a real Saturday-night thing, as if poetry really did dance and rumble and matter — over the top sometimes, for sure, but that’s what energy and commitment bring out, a rage to inhabit the mountain peaks with the Saturday-night gods. When I first wrote like that on Blog:Harriet, I felt the same sort of resonance that I did in Bayridge, and even the Contributing Writers got excited, and praised me for my efforts — and yes, some of them even talked to me off-line like you did…

And then I got banned!

~

Blog:Harriet is a tiny bit of The Poetry Foundation’s on-line commitment, I know, only 3% of the traffic, but it’s where the free voice of poetry really matters. Because Blog:Harriet is financially independent and doesn’t have to balance the books, satisfy institutional requirements, or mollify advertisers, corporate or even college presidents. Most important of all, it doesn’t have to take sides in the wonderful complexities that blossom when poetry rumbles as if it were, wow, Saturday night in Chicago!

W.B.Yeats is dead, and we’re still wondering, who was this ridiculous genius? How could our greatest modern poet be such an enigma, and what if anything did he accomplish beside all that inconceivably beautiful, deep and earth-moving verse he left behind? And now the intellectual conscience of the modern era,  the creator of our most modern discourse, Claude Levi-Strauss, he’s dead too — and we can celebrate his Triste Tropiques as one of the greatest modern explorations of what human expression can accomplish — in its author’s own style, and in the sacred communities he initiated us into.

Well, I’m 70, and my writing matters too, Don, particularly as I’m just as passionately committed as Claude Levi-Strauss ever was, and just as nutty, passionate and lyrical as Yeats. And that’s true, even if I have no creds, no prospects, no mentor or editor or maneuvers for tenure or a pension or even a credit card in my wallet!

And you banned Desmond Swords too with all that next-generation Irish brilliance, and Thomas Brady who put Blog:Harriet on the map with his well-informed, startling, and indefatigable genius. And Alan Cordle, perhaps the best-known and effective social critic on the contemporary poetry scene in America — summarily chopped for just being who he was!

EYE Don ShareSo what are you going to do about all that, Don Share? Just let it slip, just let all those hurt feelings and that outrage fester? Just let Harriet go down the tubes as an accident, the usual sort of bumbling and grumbling which takes people over when they refuse to talk to each other, what’s more listen? Are you trying to prove that even at The Poetry Foundation poetry doesn’t matter, that it’s all just business as usual even with the blessings of Ruth B. Lilly’s profound good-will and all her benificent millions?

So why did you bother to write  that article on Yeats and Claude Levi-Strauss then, or don’t you take any of it serioously? I mean, is that just what you do for a living, to write like that? Is that just your thing at The Foundation?

And I know that’s not it at all, dear Don, but sooner or later you’ve got to say what it is, and take action.

Sooner or later you’ve got to stand up and be counted!

Christopher Woodman

This is the first of the Personal Statements of those who were banned from Harriet on September 1st, 2009. Stay Tuned for the accounts of Desmond Swords, Alan Cordle, and Thomas Brady.

SMOKING MAKES NOTHING HAPPEN

Drugs like caffeine and  nicotine are wonderful stimulants for poetry.

Five packs a day, and you, too, could be a great poet.

In 1939, a transition year marking the start of WW II, the poet W.H. Auden was divided.

Auden was between jobs, homelands, faiths, political beliefs,  romances–as well as drags on his cigarette.

The English poet was about to settle in the U.S. (New York) say goodbye to friend Christopher Isherwood (who moved to California in April) meet and“marry” Chester Kallman–a devotee of anonymous men’s room sex, abandon his atheism for the Church of England, give up his Marxism for a belief in Western Democracy, and abandon travel reporting for college teaching.

In a Nation article in March 1939, Auden played prosecutor and defense—rhetorically dividing himself—in debating the poetic worth of W.B. Yeats–who had died in January of that year.

Yeats’ death surely made Auden,  famous and middle-aged in 1939,  reflect on his own worth as a poet, and, naturally on the worth of poetry itself in a brutal age approaching war.

Are we surprised, then, that poetry’s most divided and ambiguous statement about itself, emerged in March of 1939, in a poem by Auden on W.B. Yeats?

We really don’t need to puzzle over the meaning of “Poetry makes nothing happen,” for it is clearly the utterance of a helplessly divided and self-pitying man: “Poetry makes Auden happen” is closer to an accurate statement, for poetry makes a great deal happen.  Auden, the famous poet, felt sorry for himself as he contemplated the death of another well-known poet (Yeats) falling like a tiny droplet in the ocean, a day when a “few thousand”  were aware of something “slightly unusual.”

Or, if Auden wasn’t pitying himself, the phrase probably sprang from Auden’s sense–which one can detect in the Nation article–that Yeats was (and this is probably correct) a right-wing loon; “poetry makes nothing happen” was a description of Yeats’ poetry, not poetry.

Auden looked around at the world in 1939 and said, rather gruffly, after smoking a pack of cigarettes with a few Pinot Noirs, ‘look, Yeats believed in fairies and Hitler is about to set the world on fire…

It was Yeats–Auden thought he was a freak.

Auden knew poetry–in general–made things happen.

After all, poetry created the poet, Auden, who made the ambiguous statement, ‘poetry makes nothing happen,’ in the first place.

The idea that ‘poetry makes nothing happen’ is…silly.

Auden married Kallman–and, to no one’s surprise, Chester broke Wystan’s heart.   Shall we say, then, “Marriage makes nothing happen?”

We should remember that poetry is much larger than W.H. Auden or W.B. Yeats, or any individual, and that sordid details and facts pale beside universals, and small facts can suddenly become universals, depending on the context.  We should remember what Percy Shelley, whose poetic treatment of the death of John Keats blows away Auden’s ditty on Yeats, said in his A Defense of Poetry:

The frequent recurrence of the poetical power, it is obvious to suppose, may produce in the mind a habit of order and harmony correlative with its own nature and with its effects upon other minds. But in the intervals of inspiration, and they may be frequent without being durable, a poet becomes a man, and is abandoned to the sudden reflux of the influences under which others habitually live.”   –Shelley, A Defense

A long poet does not exist.

Sure, a poem, or a poet, or poetry might–sometimes–make nothing happen.

Fairy dust and puffs of smoke make nothing happen.  Most of us know that.

But, again, Shelley:

The exertions of Locke, Hume, Gibbon, Voltaire, Rousseau,  and their disciples, in favor of oppressed and deluded humanity, are entitled to the gratitude of mankind. Yet it is easy to calculate the degree of moral and intellectual improvement which the world would have exhibited, had they never lived. A little more nonsense would have been talked for a century or two; and perhaps a few more men, women, and children burnt as heretics. We might not at this moment have been congratulating each other on the abolition of the Inquisition in Spain. But it exceeds all imagination to conceive what would have been the moral condition of the world if neither Dante, Petrarch, Boccaccio, Chaucer, Shakespeare, Calderon, Lord Bacon, nor Milton, had ever existed; if Raphael and Michael Angelo had never been born; if the Hebrew poetry had never been translated; if a revival of the study of Greek literature had never taken place; if no monuments of ancient sculpture had been handed down to us; and if the poetry of the religion of the ancient world had been extinguished together with its belief. The human mind could never, except by the intervention of these excitements, have been awakened to the invention of the grosser sciences, and that application of analytical reasoning to the aberrations of society, which it is now attempted to exalt over the direct expression of the inventive and creative faculty itself.”  –Shelley, A Defense

What was Shelley on, anyway?

WE WERE THERE TOO: But We’re Banned from Blog:Harriet now. And WHY? Did Martin Earl find us troublesome? Or what about you, Annie Finch, or you Camille Dungy? Don Share? Cathy Halley? You were all there along with Gary Fitzgerald and Michael Robbins? Who in the light of the International Poetry Incarnation of 1965 could possibly have allowed this to happen in 2009, and at The Poetry Foundation of all places???

International Poetry Incarnation,
The Original Program,
The Royal Albert Hall, June 11th, 1965,
Smoking Permitted.

Albert Hall 1aAlbert Hall 2

FISH II GRAB

Thomas, Gary, Christopher, Camille, Annie, Michael, Don, Cathy, others…

I certainly don’t see a problem, and I second Thomas’s drift in this comment. The thread is about open space, cornfield, Nebraska style space. Thomas has a point. You read what you want to read. Volume can only be stimulating, especially when the discourse is conducted at such a high level. I’m sure this is exactly what Ms. Lilly had in mind, free and open forums which grow organically. Any given post can sustain pointed commentary for only so long before drift, meta-commentary, opinion, personal ideology and the gifts of individual experience begin to take hold. I, for one, feel extremely lucky, as one of the hired perpetrators these last few months that the threads unfold the way they do. Maybe Gary has a point – some people could be scared away by the clobbering breadth of the most enthusiastic threaders. But perhaps not. I suspect a lot of people are reading just for the fun of it, for the spectacle, without necessarily feeling the need to contribute. And I’ve seen enough examples of people, late in the day, breaking in without any trepidation. Thomas has brought up a lot of good points here about the way things are supposed to work. And I would say, having observed this process over the last six months, that, given the lawlessness, there has always been a sense of decorum, even decorum threaded into the syntax of insult (a wonderful thing to see). We are all at a very lucky moment in the progress of letters. A kind of 18th century vibrancy is again the order of the day. We should all thank the circumstances that have led to this moment. We should drink a lot of coffee and get to work.

Martin
POSTED BY: MEARL ON JULY 6, 2009 AT 12:02 AM

Honestly, you all, go and read such passionate and well-informed commentary, and BLUSH! Go and read it right here, and then look at Harriet today!

Christopher

~~~~~ WHO WOULD KILL POETRY? ~ ~ ~~


TWO WEBSITES 5


LANGPO SLAYS OFFICIAL VERSE CULTURE AS VENDLER GOES OVER TO BERNSTEIN

BAMA PANEL IV:  SURVIVAL OF THE DIMMEST?

The Alabama Panel 25 years ago this month was essentially a high-brow rumble: LangPo taking on Official Verse Culture.

Two heavyweights of LangPo, 53 year old USC Comparative Lit. professor Marjorie Perloff and 34 year old L=A=N=G=U=A=G=E editor Charles Bernstein took on U.K. poet Louis Simpson, 61,  former Nation poetry editor and Black Mountain associated poet, Denise Levertov, 60, David Ignatow, 70, poet and poetry editor of The Nation, Harvard professor Helen Vendler, 51, and Iowa Workshop poet Gerald Stern, 59.

Perloff and Bernstein were on friendly turf, however. 35 year old Hank Lazer, the ‘Bama professor host, was in Bernstein’s camp, as was 30 year old Gregory Jay, punk ‘Bama assistant professor.

Charles Altieri, 41,  professor at U. Washington and recent Fellow at Institute for Advanced Study in the Behavioral Sciences at Palo Alto, ostensibly had a foot in each camp, but you could tell his heart was with Perloff and Bernstein.  The match-up was actually 5-5, so LangPo should have counted itself fortunate.

Also at the table 25 years ago was the elder statesman, Kenneth Burke, 87, a coterie member of the original Modernists–winner of the annual Dial Magazine Award in 1928 (other winners of the Dial Award in the 1920s: T.S. Eliot in 1922 for ‘The Waste Land,’ Ezra Pound, WC Williams, E.E. Cummings, and Marianne Moore.)   Burke, chums with figures such as Malcolm Cowley and Allen Tate, was an editor at The New Republic 1929-1944, a radical Marxist, and a symbolism expert–if such a thing is possible.

The poet Donald Hall had been invited and could not attend–submitting in writing for the conference his famous ‘McPoem’ critque of the Workshop culture.

We already looked at how Gerald Stern embarrassed Bernstein by asking him to ‘name names’ when Bernstein raised the issue at the 25 year old panel discussion of ‘poet policemen’ enforcing the dictates of ‘official verse culture’ and Bernstein only coming up with one name: T.S. Eliot.

Then we looked at Vendler asserting the crucial modernist division between timeless criticism and “abrasive” reviewing–with Simpson retorting this was nothing but a status quo gesture on Vendler’s part, with Vendler weakly replying she was fighting the status quo in working to make Wallace Stevens more appreciated.   Then in Part III of this series, we saw how Levertov roared ‘you parochial fools are ignoring race/unprecedented crisis/human extinction.’

Levertov, taking a no-frills Leftist position, and Simpson, with his no-frills aesthetic of pre-interprative Vision, proved too much for the LangPo gang.

Levertov became incensed with professor Jay’s post-modern argument that human language and interpretation are at the heart of human experience: “Bullshit!” Levertov said.  Levertov and Simpson (with Ignatow) argued for universal feeling as primary.

Levertov argued for universal access as the very nature of language; Perloff countered that a small group of people might find meaning in something else.

Louis Simpson came in for the kill, asking Perloff:

“Suppose you found some people who were using bad money and thought it was good money.  Would you be mistaken to point out then it was all forged?”

The audience roared appreciatively with laughter.

Bernstein, with his training in analyitic philosophy, was shrewder, finally, than Perloff. 

Rather than confront the dinosaur Levertorous head-on, the furry little Bernstith sniffed around and devoured her giant eggs:

Bernstein: “We’re not going to to resolve philosophical & theosophical, religious differences among us.  Religious groups have these same disagreements.  I think the problem I have is not so much understanding that people have a different veiwpoint than I have–believe me, I’ve been told that many times (laughter) and I accept that.”

Here’s the insidious nature of Bernstein’s Cambridge University training–he seeks disagreement as a happy result; he embraces difference as a positive quality in itself.   Bernstein gives up on universals sought by pro and con argument.  Now he continues:

“What I do find a problem is that we say ‘poets’ think this and ‘poets’ think that–because by doing that we tend to exclude the practices of other people in our society of divergence.”

What are these “practices of other people?”  He doesn’t say.  But we can imply that these “practices” are radically different and reconciliation is impossible.    Now Bernstein goes on to make a stunning leap of logic:

“And I think it’s that practice that leads to the very deplorable situation that Denise Levertov raised: the exclusion of the many different types of communities and cultures from our multicultural diverse society, of which there is no encompassing center.  My argument against a common voice is based on my idea that the idea of a common voice seems to me exclusion.”

Bernstein’s Orwellian thesis is that the One does not include the Many; the One is merely a subset of the Many.   Bernstein rejects the universalizing social glue necessary for Levertov’s democratic commonwealth of social justice; Bernstein promotes inclusion while positing inclusion itself as exclusion(!).  Multiculturalism interests Bernstein for its severing qualities–Bernstein wants to break but not build.  Logically and politically, he is unsound, and later on in the discussion–after Vendler breaks from ‘official verse culture’ and goes over to Bernstein’s side (thus giving Langpo a numerical 6-4 victory) with her ‘poetry makes language opaque’ speech–Levertov strikes the following blow:

Bernstein:  My poetry resists the tendencies within the culture as a whole. What poetry can do is make an intervention within our language practice in society.

Levertov:  I disagree.  Language is not your private property. Language has a common life.

SHELLEY’S BIRTHDAY, or “Real Life in Poetry with Don Share & Joan Houlihan:” exclusively on HARRIET

DON SHARE'S PUPPIES Yvor Winters Grab
DON & JOAN FULL

This article builds directly on Thomas Brady’s last comments following the previous Delmore Schwartz post [click here], and indeed tries to pull all the pieces of Scarriet together. What it is not is negative, and certainly not toward Blog:Harriet which has given its authors such pleasure. It’s sole target is the very poor taste and mismanagement of Harriet’s editor, Travis Nichols, who we feel should be fired point blank.

Toward the underlying controversy itself, Scarriet is tolerant — we feel the issues involved are so close to us they are difficult to unscramble. Indeed, our position is like the two sides of our poetry’s coin, and denying one or the other would be fraudulent.

Our position is that having banned one side of the coin Harriet is now bankrupt.

Don Share wrote the original article called REAL LIFE [click here] with great sensitivity and insight, and we are sure gave everyone pleasure. Don Share is not being attacked in this post — he is simply a piece in a much larger puzzle that without him would not yield its whole picture. But his side is GREEN, lots and lots of it, and indeed in his person Don Share embodies the ‘ruling’ position — no blame, but there we are. What is undeniable is that that position gets all the votes — and of course, in less than a month from this very moment Thomas Brady will be banned from Blog:Harriet altogether.

Yvor Winters is a matter of taste, and he’s dead. He’s an important figure in the original article which draws him in here, but he doesn’t speak, and nobody is voting for or against him, or at least not directly. On the other hand, he’s a crux in Thomas Brady’s literary historical argument — a true eminence grise casting a shadow over all of us, and making it hard to read Percy Bysshe Shelley.

Some birthday — indeed, the only warm light comes from the poet’s funeral pyre!

Joan Houlihan is drawn in because she is Sheila Chambers in the penultimate comment, and another large piece of the puzzle. Not only does she get +14 GREEN votes for one very small offering, she expresses most starkly the attitude that lies behind the extraordinary ill-will that Thomas Brady gets buried in (look and see for yourself!). She’s the very Avatar of RED in her compulsion to demonize the opposition, and insists that hooligans like Brady are not to be tolerated anywhere within the pale. She’s angry, dismissive, and will stop at no limits.

Joan Houlihan attacks Thomas Brady specifically for his phrase, “the machinations of the grooming process,” and she should certainly know about that because she runs one of the most expensive “grooming” consultancies in the poetry business in America. Called the Colrain Manuscript Conferences, her outfit offers sophisticated weekends in white mansions in the Berkshires during which you get to meet hot editors and publishers like Jeffrey Levine — available to anyone with an unpublished book to be groomed and an extra arm and a leg. So she’s really passionately opposed to this discussion on Harriet, because Thomas Brady is threatening not only her purse but her cachet. She wants him stopped, in fact. Period. And ditto Christopher Woodman — as he was on Pw & Poets.org.

The comments that follow form an uninterrupted sequence from Thomas Brady’s initial thanks to Don Share for the REAL LIFE post to Joan Houlihan’s cat out of the bag. It’s a shambles, a shocker of the first order, a disgrace to The Poetry Foundation and to all poets and poetry. Indeed, it should make us all blush to read it (but you can’t really read it, of course,  because the whole opposition is closed down, like in Singapore!).

We have decided to post typescripts of the first 3 exchanges because they express the gist of the argument, and need to be read carefully (don’t forget that both of Thomas Brady’s comments are closed in the original — some dialogue!). We also provide a typescript of Joan Houlihan’s and Thomas Brady’s last comments at the end — and, of course, Thomas Brady is closed there too with -23 Dislikes!

Enjoy, we’d like to say. But that would be nasty.

CLICK HERE to read the most important part of this article.

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