SWEET SIXTEEN!!

Ben at Shays

Scarriet Poery March Madness first round winners have battled it out—and here are the final 16 contestants, the Sweet Sixteen!

These are extraordinary lines, evoking entire poems, entire books of poems.

Nicknames for this tournament have flooded in: The Mouse That Roared, Less Madness is More Madness, A Little Says It All, A Nutshell’s Unlimited Space.

The most common tropes in poetic history are all here in these magnificent microcosms: love, emotion, psychology, birds, music, fire, clouds, urgent definitions of time and space.

Marla Muse: I’m thrilled to death for all these poets!  What amazing lines!

We chose wisely.

Marla Muse: We did.

In the North

Maura Stanton: Who made me feel by feeling nothing

Ben Mazer: All is urgent, just because it gives, and in the mirror, life to life life gives.

Jorie Graham: A rooster crows all day from mist outside the walls.

Molly Brodak: boundlessness secretly exists, I hear

In the West

Mary Angela Douglas: The larks cry out and not with music.

Cristina Sanchez Lopez: Have you heard strings? They seem like hearts that don’t want to forget themselves.

Emily Kendal Frey–How can you love people without them feeling accused?

Ada Limón–just clouds—disorderly, and marvelous and ours.

In the East

Lori Desrosiers–I wish you were just you in my dreams.

Joie Bose–Isn’t that love even if it answers not to the heart or heat but to the moment, to make it complete?

Kushal Poddar–Your fingers are alight. Their blazing forest burns towards me.

Stephen Cole–Where every thing hangs on the possibility of understanding and time, thin as shadows, arrives before your coming.

In the South

Nalini Priyadarshni–Denial won’t redeem you or make you less vulnerable. My unwavering love just may.

Chumki Sharma–After every rain I leave the place for something called home.

Joe Green–I’m tired. Don’t even ask me about the gods.

Julie Carr–Either I loved myself or I loved you.

Congratulations to all the winners!!!

 

 

W.S. MERWIN TAKES ON JULIE CARR

Poets should not depend on things, on pictures, on colors: that’s for painters.

All the best poets know that “no ideas but in things” is the worst possible advice for the poet.

Ideas use things in poetry, but poetry is speech.  Adding measured emphasis (metrics) is never unwise; our own experiments (too complex to write about here) show music to be a poetry too excitable for words, but still containing ideas—which live behind every good image in every good poem.

When reading essays: read what they think.

When reading poems: read what they do.

But in both cases, the essence is an idea.  Philosophical acumen is the basis of all artful communication.

The greatest poets have always warned: avoid cheap politics and avant-garde tricks, which are just excuses to be lazy and stupid.

Classical learning is the only learning.

Small beer is small beer.  Snot on the sleeve is snot on the sleeve.

There’s nothing magical out there. Daddy Ezra can’t help you. Only classical learning and your pretty face can.

William Stanley (W.S.) Merwin has been publishing poetry for 60 years; he managed to make contact with icons in his youth—guys like Pound and Robert Graves and Berryman and Blackmur and T.S. Eliot—he’s a pretty famous poet (also a translator), but unfortunately, no famous poems. Merwin abandoned punctuation in his poetry in a beat/hippie move when he was in his 40s—when he was in a bit of a crisis and leaving Europe for good and coming back to America in the late 1950s.

Merwin understands that poetry is speech, and leaving off punctuation was the earnest attempt to make ‘speech-which-is-not-speech,’ or trembling, misty poetry, and to a large extent he has succeeded in that regard.

Merwin has said that in abandoning punctuation, he was leaving the page where punctuation nails things down to embrace how people talk, which is almost the same thing, though it misses the point of punctuation, which helps talking—it does not hinder it.

But Merwin is a good poet because he plays with ideas, and came to realize Pound was dead wrong about the image, and so much else. “The intellectual coherence of Pound’s work is something that I don’t any longer believe in.”  (Paris Review interview, 1986).

you know there was never a name for that color

One can see in this one line Merwin, the poet, rejecting all the painter’s tricks—those the silly Imagists insisted poets try—and instead, exploding with iambic and anapest rhythms, raining down upon us an idea, in the implied question: what does it mean, exactly, when a color doesn’t have a name?

Merwin, first seed, will be tough to beat with this one.

Julie Carr began as a classical dancer, and to dance, you need music, and poetry is a kind of dance to music—we don’t hear the music but we see the dance, the poetry.

Julie Carr is also a mother, and still young, and as soon as she turned to poetry, she accumulated awards; reading her, one gets the feeling when it comes to the flags and banners of poetic speech, she got it, and got it quickly.

Either I loved myself or I loved you.

This line has a kind of delicious despair, a romantic power; there is an intoxicating idea in the symmetry displayed in “Either I loved myself or I loved you.”

We have no doubt this contest will be a very interesting one.

 

 

 

2016 SCARRIET MARCH MADNESS!! BEST CONTEMPORARY LINES OF POETRY COMPETE!!!

Scarriet: You know the rules, don’t you?

Marla Muse: Rules?

Scarriet: The March Madness rules.

Marla: Of course!  A sudden death playoff within four brackets. The winner of each bracket makes it to the Final Four, and then a champ is crowned!

Scarriet: We have 64 living poets, represented by their best lines of poetry—and these lines will compete for the top prize.

Marla: Exciting! To be sad, to be happy, or intrigued, or fall into a reverie—from a single line!  Only the best poets can do that to you!  Are all of these exceptional poets?

Scarriet: Of course they are.  The New Wave of Calcutta poetry is represented; poets who have won prizes recently; poets published in the latest BAP; some fugitive poets; and we’ve included a few older lines from well-known poets to populate the top seeds, for a little historical perspective.

Marla: A famous line of poetry!  It seems impossible to do these days.

Scarriet: There are more poets today. And no one is really famous. Some say there are too many poets.

Marla: Marjorie Perloff!

Scarriet: Maybe she’s right.

Marla: Enough of this. Let’s see the brackets!  The poets!  The lines!

Scarriet: Here they are:

 

NORTH BRACKET

Donald Hall–To grow old is to lose everything.

Jorie Graham–A rooster crows all day from mist outside the walls.

Mary Oliver–You do not have to be good.

Anne Carsondon’t keep saying you don’t hear it too.

Robert Haas–So the first dignity, it turns out, is to get the spelling right.

Maura Stanton–Who made me feel by feeling nothing.

Sean O’Brien–‘People’ tell us nowadays these views are terribly unfair, but these forgiving ‘people’ aren’t the ‘people’ who were there.

Warsan Shire–I have my mother’s mouth and my father’s eyes—on my face they are still together.

Ben Mazer–All is urgent, just because it gives, and in the mirror, life to life life gives.

Melissa Green–They’ve mown the summer meadow.

Peter Gizzi–No it isn’t amazing, no none of that.

Traci Brimhall–I broke a shell to keep it from crying out for the sea.

Molly Brodak–boundlessness secretly exists, I hear.

Charles Hayes–Her sweaty driver knows his load is fair.

Jeet Thayil–There are no accidents. There is only God.

Jennifer Moxley–How lovely it is not to go. To suddenly take ill.

 

WEST BRACKET

Louise Gluck–The night so eager to accommodate strange perceptions.

A.E. Stallings–The woes were words, and the only thing left was quiet.

Patricia Lockwood–How will Over Niagara Falls In A Barrel marry Across Niagara Falls On A Tightrope?

Kevin Young–I want to be doused in cheese and fried.

Ross Gay–One never knows does one how one comes to be.

Andrew Kozma–What lies we tell. I love the living, and you, the dead.

Denise Duhamel–it’s easy to feel unbeautiful when you have unmet desires

Sarah Howe–the razory arms of a juniper rattling crazily at the edge of that endless reddening haze.

Emily Kendal Frey–How can you love people without them feeling accused?

Cristina Sánchez López–Have you heard strings? They seem like hearts that don’t want to forget themselves.

Natalie Scenters-Zapico–apartments that feel like they are by the sea, but out the window there is only freeway

Donna Masini–Even sex is no exit. Ah, you exist.

Meredith Haseman–The female cuckoo bird does not settle down with a mate. Now we make her come out of a clock.

Candace G. Wiley–My dear black Barbie, maybe you needed a grandma to tell you things are better than they used to be.

Ada Limón–just clouds—disorderly, and marvelous and ours.

Mary Angela Douglas–The larks cry out and not with music.

 

EAST BRACKET

Marilyn Hacker–You happened to me.

Charles Simic–I could have run into the streets naked, confident anyone I met would understand.

Laura Kasischke–but this time I was beside you…I was there.

Michael Tyrell–how much beauty comes from never saying no?

Susan Terris–Cut corners   fit in   marry someone.

Chana Bloch–the potter may have broken the cup just so he could mend it.

Raphael Rubinstein–Every poet thinks about every line being read by someone else.

Willie Perdomo–I go up in smoke and come down in a nod.

Tim Seibles–That instant when eyes meet and slide away—even love blinks, looks off like a stranger.

Lori Desrosiers–I wish you were just you in my dreams.

Philip Nikolayev–I wept like a whale. You had changed my chemical composition forever.

Stephen Sturgeon–City buses are crashing and I can’t hear Murray Perahia.

Joie Bose–Isn’t that love even if it answers not to the heart or heat but to the moment, to make it complete?

Kushal Poddar–Your fingers are alight. Their blazing forest burns towards me.

Marilyn Chin–It’s not that you are rare, nor are you extraordinary, O lone wren sobbing on the bodhi tree.

Stephen Cole–Where every thing hangs on the possibility of understanding and time, thin as shadows, arrives before your coming.

 

 

SOUTH BRACKET

W.S. Merwin–you know there was never a name for that color

Richard Wilbur–not vague, not lonely, not governed by me only

Terrance Hayes–Let us imagine the servant ordered down on all fours.

Claudia Rankine–How difficult is it for one body to see injustice wheeled at another?

Richard Blanco–One sky, toward which we sometimes lift our eyes tired from work.

Brenda Hillman–Talking flames get rid of hell.

Les Murray–Everything except language knows the meaning of existence.

Susan Wood–The simple fact is very plain. They want the bitterness to remain.

Lawrence Raab–nothing truly seen until later.

Joe Green–I’m tired. Don’t even ask me about the gods.

Lynn Hejinian–You spill the sugar when you lift the spoon.

Connie Voisine–The oleanders are blooming and heavy with hummingbirds

Rowan Ricardo Phillips–It does not not get you quite wrong.

Chumki Sharma–After every rain I leave the place for something called home.

Nalini Priyadarshni–Denial won’t redeem you or make you less vulnerable. My unwavering love just may.

Julie Carr–Either I loved myself or I loved you.

 

 

 

 

 

LET’S DO IT AGAIN! ANOTHER SCARRIET HOT 100 POETRY LIST!

 

Image result for yone noguchi

Yone Noguchi and Joaquin Miller: How curiously they would gaze on us today!

This latest Hot 100 List is mostly comprised of very brief quotes from poems in BAP 2015—now the most collectible volume in David Lehman’s “best” anthology series, due to its Yi-Fen Chou controversy.

The “molecular” display presents fragmentary glimpses of “hot,” and we must say it is an interesting way to see the poets—can we know them by a few of their poetry molecules?

We may be living, without knowing it, in the Age of the Fragment.  The best prose-poems often produce dull fragments. That’s the bad news. The good news is that fragments from dull prose-poems may intimate genius; if future ages can only read the fragments we produce today, some lucky poets, who wrote mediocre prose poems, may be hailed as geniuses. Since the lyric of unified metrical accomplishment is really not our strength today, the Fragment may be our era’s ticket to lasting fame.

Is it the goal of the fragment to be fragmentary?  Is it ever the goal of the poem to be fragmentary?  Are there different types of fragments?  Is there not a rush to completion by every poem itself that makes even a fragment seem complete, beyond even the knowledge of the poet?

Getting to know David Lehman on Facebook…he loves rhyme, especially the rollicking sort, and we believe those sorts of poems in BAP are his selections.  Lehman is also a ‘free-speech-er;’ he sanctions the racy; the BAP poems often strive to be popular in the attention-getting sense, which I suppose is admirable—or not.

The non-poem exceptions in the Scarriet list are recent remarks by the hot Alexie, Lehman, Perloff, and Mary Karr. We are proud to include the quotation from Perloff—who chose to break her silence on the “racist Avant-garde” controversy by addressing Scarriet—on Facebook!—as she admitted her book Unoriginal Genius and its final chapter on Goldsmith’s Traffic may have had a part in bringing on the racist label. Are we not interested in my discussion of Yoko Tawada in Unoriginal Genius, Perloff asked, because she’s Asian-German, rather than Asian-American? “What xenophobia!”

The question we asked Perloff was, “Is the non-creative nearly racist by default?” The question was not meant to put Perloff on the spot; it was as much about the current race-conscious atmosphere as it was about Perloff, or the avant-garde. Were an avant-garde poet to tweet “red wheel barrow beside the white chickens” enough times, just think what might happen. And speaking of Williams (and Pound) and their Imagiste schtick: Scarriet, in its five year assault on Avant-Garde Modernism as a reactionary clique of white men, should get some credit for opening up this whole discussion.

Scarriet has written of Yone Noguchi (1875-1947) in the context of Imagism ripping off haiku, the importance of the Japanese victory in the Russo-Japanese war, and Noguchi’s important contacts: Yeats, Hardy, Symons, and John Gould Fletcher—the Arkansas poet who, along with Ford Maddox Ford, was the connecting link between Pound’s circle and the equally reactionary and highly influential circle of New Critics—the group of men who brought us the Writing Program Era—and its “difficult” Modernist flavor.

Scarriet, which trailblazes often, found the secret to the Red Wheel Barrow poem: WC Williams had a brother, Edgar, who married the woman he loved, Charlotte (Bill married her sister). “So much depended on” this: and Ed can be found in “red,” Charlotte in “chickens” and “white” symbolizes the bride.

But here we go. Controversy and hot go together; let’s get to the hot list. No mention of awards this time. Enjoy the list—and the poetry.

1. Yi-Fen Chou –“Adam should’ve said no to Eve.”

2. Derrick Michael Hudson –“Am I supposed to say something, add a soundtrack and voiceover?”

3. Sherman Alexie –“I am no expert on Chinese names…I’d assumed the name was Chinese.”

4. David Lehman –“Isn’t giving offense, provoking discussion…part of the deal?”

5. Terrance Hayes –“Let us imagine the servant ordered down on all fours”

6. Marjorie Perloff — “Scarriet poses the question…I have so far refrained from answering this and related questions but perhaps it is time to remind Scarriet and its readership…”

7. Amy Gerstler –“…live on there forever if heaven’s bereft of smell?”

8. Jane Hirshfield — “A common cold, we say—common, though it is infinite”

9. Mary Karr — “[John Ashbery is] the most celebrated unclothed emperor…an invention of academic critics…the most poisonous influence in American poetry”

10. Mary Oliver — “June, July, August. Every day, we hear their laughter.”

11. Rowan Ricardo Phillips — “It does not not get you quite wrong.”

12. Lawrence Raab — “nothing truly seen until later.”

13. Patrick Phillips — “Touched by your goodness, I am like that grand piano we found one night”

14. Dan Chiasson — “The only god is the sun, our mind, master of all crickets and clocks.”

15. Willie Perdomo — I go up in smoke and come down in a nod”

16. Katha Pollitt — “Truth had no past. It was wordless as water, a fall of shadow on stone.”

17. Tim Seibles — “That instant when eyes meet and slide away—even love blinks, looks off like a stranger”

18. Marilyn Hacker — “You happened to me.”

19. Charles Simic — “I could have run into the street naked, confident anyone I met would understand”

20. Louise Glück — “…the night so eager to accommodate strange perceptions.”

21. Laura Kasischke — “but this time I was beside you. …I was there.”

22. Michael Tyrell — “how much beauty comes from never saying no?”

23. Susan Terris — “cut corners    fit in     marry someone”

24. Cody Walker — “Holly round the house for a Muhammad Ali roundhouse.”

25. A.E. Stallings — “the woes were words,     and the only thing left was quiet.”

26. Valerie Macon — “coats fat over lean with a bright brush”

27. Jennifer Keith — “…bound to break: One the fiction, one the soul, the fact.”

28. Ed Skoog — “Its characters are historians at the Eisenhower Library.”

29. Terence Winch — “I’m in the emergency room at Holy Cross hoping all is not lost.”

30. Chana Bloch — “the potter may have broken the cup just so he could mend it.”

31. Natalie Diaz — “Today my brother brought over a piece of the ark”

32. LaWanda Walters — “And we—we white girls—knew nothing.”

33. Raphael Rubinstein — “Every poet thinks about every line being read by someone else”

34. R.S. Gwynn — “How it shows, shows, shows. (How it shows!)”

35. Robin Coste Lewis — “how civic the slick to satisfied from man.”

36. Andrew Kozma — “What lies we tell. I love the living, and you, the dead.”

37. Melissa Barrett — “—lines from Craiglist personal ads

38. Mark Bibbins — “He’s Serbian or something, whole family wiped out”

39. Chen Chen — “i pledge allegiance to the already fallen snow”

40. Patricia Lockwood — “How will Over Niagara Falls in a Barrel marry Across…on a Tightrope?”

41. Ron Padgett — “Old feller, young feller, who cares?”

42. Bethany Schultz Hurst — “Then things got confusing for superheroes.”

43. Natalie Scenters-Zapico — “…apartments that feel like they are by the sea, but out the window there is only freeway.”

44. Sandra Simonds — “Her little girl threw fake bills into the air.”

45. Donna Masini — “Even sex is no exit.  Ah, you exist.”

46. Dora Malech — “paper mane fluttering in the breeze of a near miss, belly ballasted with…kisses”

47. David Kirby — “Pets are silly, but the only world worth living in is one that doesn’t think so.”

48. Ross Gay —  “One never knows does one how one comes to be”

49. Meredith Hasemann — “The female cuckoo bird does not settle down with a mate. Now we make her come out of a clock.”

50. Madelyn Garner — “working her garden…which is happiness—even as petal and pistil we fall.”

51. Wendy Videlock — “like a lagoon, like a canoe, like you”

52. Erica Dawson — “I knocked out Sleeping Beauty, fucking cocked her on the jaw.”

53. Hailey Leithauser — “Eager spills eel-skin, python, seal-leather, platinum and plate, all cabbage, all cheddar.”

54. Monica Youn –“the dead-eyed Christ in Pietro’s Resurrection will march right over the sleeping soldiers”

55. Tanya Olson — “Assless Pants Prince High-Heels Boots Prince Purple Rain Prince”

56. Jericho Brown — “But nobody named Security ever believes me.”

57. Danielle DeTiberus — “In a black tank top, I can watch him talk about beams, joists…for hours”

58. Rebecca Hazelton — “My husband bearded, my husband shaved, the way my husband taps out the razor”

59. Dana Levin — “I watched them right after I shot them: thirty seconds of smashed sea while the real sea thrashed and heaved—”

60. Evie Shockley — “fern wept, let her eyes wet her tresses, her cheeks, her feet. the cheerlessness rendered her blessed”

61. Alan Michael Parker — “Rabbi, try the candied mint: it’s heaven.”

62. Aimee Nezhukumatahil — “I wonder if scientists could classify us a binary star—”

63. D. Nurske — “Neils Bohr recites in his soft rapt voice: I divide myself into two persons”

64. Afaa Michael Weaver — “inside oneness that appears when the prison frees me to know I am not it and it is not me.”

65. Marilyn Chin — “She was neither black nor white, neither cherished nor vanquished, just another squatter in her own bamboo grove”

66. Candace G. Wiley — ” My dear black Barbie, maybe you needed a grandma to tell you things are better than they used to be.”

67. Joanna Valente — “Sometimes, at night, I wish for someone to break into me—”

68. Jeet Thayil — “There are no accidents.  There is only God.”

69. Kate Tempest — “It gets into your bones.”

70. Alice Notley — “To take part in you is to die is why one dies Have I said this before?”

71. Eileen Myles — “Well I’ll be a poet. What could be more foolish and obscure.”

72. Major Jackson — “When you have forgotten the meaningful bop”

73. Dawn Lundy Martin — “And Olivia, the mouth of his children from the mouth of my vagina.”

74. Kiki Petrosino — “We sense them shining in our net of nerves.”

75. Jennifer Moxley — “How lovely it is not to go. To suddenly take ill.”

76. Juliana Spahr — “There is space between the hands.”

77. Ada Limón — “just clouds—disorderly, and marvelous, and ours.”

78. Kevin Young — “I want to be doused in cheese and fried.”

79. Dodie Bellamy — “what is it have I seen it before will it hurt me or help me”

80. Juan Felipe Herrera — “Could this be yours? Could this item belong to you? Could this ticket be what you ordered, could it?”

81. Joy Harjo — “The woman inside the woman who was to dance naked in the bar of misfits blew deer magic.”

82. Saeed Jones — “In the dark, my mind’s night, I go back”

83. Sarah Arvio — “The new news is I love you my nudist”

84. Desiree Bailey — “how will I swim to you when the day is done?”

85. Rachael Briggs — “Jenny, sunny Jenny, beige-honey Jenny”

86. Rafael Campo — “We lie and hide from what the stethoscope will try to say”

87. Emily Kendal Frey — “How can you love people without them feeling accused?”

88. James Galvin — “Where is your grandmother’s wedding dress? What, gone?”

89. Douglas Kearney — “people in their house on TV are ghosts haunting a house haunting houses.”

90. Jamaal May — “how ruined the lovely children must be in your birdless city”

91. Claudia Rankine — “What did he just say? Did she really just say that?”

92. Donald Platt — “Someone jerks his strings. He can’t stop punching.”

93. Denise Duhamel — “it’s easy to feel unbeautiful when you have unmet desires”

94. Jane Wong — “A planet fell out of my mouth”

95. Derrick Austin — “Will you find me without the pink and blue hydrangeas?”

96. Dexter L. Booth — “The head goes down in defeat, but lower in prayer”

97. Catherine Bowman — “From two pieces of string and oil-fattened feathers he made a father.”

98. Jessamyn Birrer — “Abracadabra: The anus. The star at the base of the human balloon.”

99. Julie Carr– “Can you smell her from here?”

100. Mary Angela Douglas — “music remains in the sifted ruins”

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